Only bettered by Annie Hall, this is a nostalgic Allen Classic. Engaging, thought provoking dialogue which captures not only life's deeper considerations but also the whimsical chaotic. Turn the lights off, bring out the popcorn and let me be whisked away by the cosmic delights.

Filme bacaninha, o roteiro é mais ou menos, o filme tem cenas bacanas, a história é mais ou menos, a química entre o woody Allen e a diane Keaton é muito boa, e o elenco quase não ajuda a melhorar o filme, o filme praticamente só tem cenas de diálogos quase o filme todo.

Michael Murphy in Manhattan was ill-suited; in my opinion, he is not an actor. He lets his fellow actors consistently take the lead and do all of the speaking. He appears to have nothing to offer. Any person on the street can fill that position.

Another quick-witted Woody Allen screenplay on the uncertainty and insecurities of romantic relationships, Manhattan is more thematically timeless than not.

Exceptional blocking and amazing work with shadows and silhouettes. The direction and cinematography probably absolve the movie of the myriad things I have issues with.

It was the longest 90 minutes I've ever spent

True classic, stand up comedy guy from Gaslight club of 1962 had grown up to the silver screen proportion in black and white. A flair of big apple romance, with Allen's direction and hillarious comic details in dialogues, gets acted very well by entire cast. One of the master's best for sure.

This is a mini-masterpiece and one of the high points from a decade filled with high points. Woody Allen has never been better & Diane Keaton, Meryl Streep & Mariel Hemingway are all better than him. Stunning black-and-white cinematography and amazing Gershwin music make for a truly cinematic experience. It is one of the most beautiful & gloriously romantic movies ever made.

There are numerous infidelities in the work of Woody Allen, but there is one love with whom he has a lasting and faithful relationship throughout his career. That love is of course New York, the backdrop and subject matter of a number of his films. Two of his films have ‘Manhattan' in the title, and he contributed to a third movie with ‘New York' in it name. This is never better expressed than in his 1979 comedy, Manhattan. The city is lovingly shown in beautiful black-and-white photography and captured in widescreen. This is the romantic world of George Gershwin's Rhapsody in Blue, of skyscrapers, fireworks, city lights, bustling traffic, rickshaws and lovers kissing. The city is virtually a character in the movie. The film opens with Allen providing a voiceover as we see images of New York on the screen. He is speaking through the voice of his character, Isaac Davis. Davis is a 온라인카지노추천 writer, and he is planning a book with Manhattan as the backdrop. The narration gives us an ironic and humorous glimpse at the process of writing. Isaac keeps correcting himself and starting again, until he finds an opening that he likes. The viewer is reminded that there are many narratives and many perspectives for viewing the same story. For all their apparent intellect, and their constant analysis of their own problems and those of others, everybody ends the film by trying to return to the unhappy place that they were in at the beginning. Allen has suggested that the movie is about people trying to live a decent existence in a junk-obsessed contemporary culture, a point that we see when Isaac quits working for a trashy, low-grade comedy show. It might more accurately be said that the film is about people trying to live a decent existence, but being held back by their own insecurities and lack of self-awareness. The characters are intellectuals who freely vaunt their opinions on art and philosophy, but these are mostly empty phrases with no real insight. They often say that they are thinking of others when they perform actions for their own benefit. They obsess to the point of hypochondria about their physical well-being, while neglecting to manage their emotions healthily. They are permanently in therapy with no visible results (it is a running joke that Mary's therapist is less well-balanced than she is). In love, they are drawn to the wrong partners so that they can fail, confirming their low self-esteem. The result is a society of well-to-do intelligentsia who are lonely and insecure, not really connected to one another, restless, and unable to appreciate what they have. Allen almost makes a virtue out of ignorance. "Nothing worth knowing can be understood with the mind," Isaac tells Mary, adding, "The brain is the most over-rated organ". Attached to these discussions is a constant attempt to consider the place of human affairs in relation to the universe. Perhaps that is why Allen felt that the film was too preachy. An early date between Isaac and Mary takes place in a planetarium where the two lovers are reduced to dark shadows lost in the vastness of the cosmos. Isaac argues with Yale in a classroom while stood next to the skeleton of a prehistoric ape-like man, a reminder that we have not wholly moved past our primal origins. Allen leaves it open about whether people choose to attach their hang-ups to bigger issues about the universe or whether they create neurotic problems to avoid dealing with the unsolvable problems in the universe. Whatever the causes of their insecurities, the characters are left alone in a vast and unsympathetic universe It is only the smaller pleasures of life that make it worth living. Towards the end of the movie, Isaac gives his own list of those things which makes life good. He includes Groucho Marx, Willie Mays, the second movement of the Jupiter Symphony and Tracy's face on the list. It is this which prompts his attempt at a reconciliation with Tracy. The future of the characters is uncertain at the end of the movie. Isaac tells Mary that he gives her and Yale's relationship four weeks before it breaks up. Perhaps Tracy too will change during her London visit, and outgrow Isaac as he predicted all along. Then again, everything atrophies and turns to unhappiness. Manhattan is in decline. Gershwin's music has a melancholy wistfulness about it. Happiness is never unmixed with sadness, and love is hard to maintain in a large city. Even the pleasure of watching Manhattan has faded in many people's eyes. I wrote a longer appreciation of Manhattan on my blog page if you would like to read more: https://themoviescreenscene.wordpress.com/2020/01/10/manhattan-1979/

Filmaço também! Merecia um oscar.

Allen has worked almost without interruptions from the mid 60s to the present and now, at 88 years old, in the time I'm writing this review, he has just released the trailer of his new creation, Coup de Chance, that will be presented at the beginning of september. A career full of personal achievements reached along with critics consensus, from Europe (Cannes, Venice, Berlin) to America (Oscars and Golden Globes), and a continuous warmth from the audience, partially lowered by his sadly family scandals. Yet, if we have to find the period where he expressed himself and his poetic better, we need to rent Zemeckis Back to the Future Delorean and use it to go back in the 70s, when Annie Hall and Manhattan has seen the light of the theatres for the first time. The last one, in particular, is universally recognised as his best movie and a timeless masterpiece (not only in the comic and romantic genre). Firstly, for its cinematography: Allen chose to shot with the widescreen in black-and-white and by doing that he is capable of filming NY, his forever favourite subject, through an organic point of view (see as an example Brooklyn Bridges scene at the sunrise) that gives at the movie the consistence of memories. And that choice is even more relevant because the spectator receives a personal depiction of the city, Allen's internal insight, really different from the lawyers-bankers encyclopedia that is commonly represented when the Big Apple is the setting of a movie. All the outside shots would deserve a description of their own as well as the inside ones, where he often uses all the width of the 2.351 by shifting the focus of the scene to an insignificant object of the room while the real object is partially sheltered and not centered (See Mary and Isaac's first kiss). Then, the score George Gershwins soundtrack, recorded by NY philarmonic orchestra, traces a parallel thread with the screenplay, reflecting its kindness and softness. In addition to that, the score divides the episodes and sometimes replaces the dialogue; by doing that Allen creates a muffled perception of the happenings and puts on screen just the essential. Moreover Rhapsody in Blue has defined a new cultural era in the States, that melts with Fitzgeralds works as the defining aspects of the Jazz Age. The two elements I just described are, to conclude this introduction, wisely used and sustain the screenplay in order to complete at 360 degrees the movie. Isaac Davis (Allen himself) is a twice-divorced 42 years old tv producer who decides to quit his job due to his anxiety and lack of passion. He is dating a 17 years old girl (she still go to high school) named Tracy (Mariel Hemingway), but soon fells in love with journalist Mary Wilkie (Diane Keaton), the lover of his married best friend Yale Pollack (Micheal Murphy). Soon Keaton's character will become the centre of Davis little universe hell progressively transform his initial hate towards her to love. The four characters, along with the others few actors on screen (Isaacs ex wife, Jill, her wife, Connie, and Yale's betrayed wife, Emily), creates a complex grid made by bizarre and funny sketches, relationships, group datings and new and old loves. To sum up, Manhattans greatness is based upon the enlighted beauty and grace that pervades every frame and every dialogue. A story which conveys both the problems and the sufferings of being in a relationship that, despite the wealth of its protagonist, are normal in every relationship we experience in life. Its probably one of the most fascinating aspects of Allen's work: his indisputable capacity of representing life as it is through limited and restricted contexts, like NY racquet club and 5th Avenue's loft. With this choice I think he understood way before the beginning of his activity that money doesn't mean anything when you have something more important: love. An absolute masterpiece.

If you can get past the ickiness of the sexual relationship between a 42-year-old television writer (Woody Allen) and his 17-year-old girlfriend (Mariel Hemingway), clearly foreshadowing the ickiness that was to come later in Allen's life, Allen's Manhattan proves to be one of his better films. Beautifully shot in black and white by Gordon Willis, it is a story about the possibilities of true love and the considerable barriers that stand in its way, effectively balancing humor, drama, and romance. The characters, most of whom are self-absorbed, pseudo-intellectual neurotics, are all interesting, the George Gershwin score is solid, Allen's direction shows great confidence (love the long takes) and the performances are great, hi-lighted by Hemingway, who proves to be the wise voice of reason in a crowd of shameless narcissists.

My 2022 commitment to see every movie featuring Meryl Streep continues. In 1979 she appeared in Manhattan, playing the ex-wife of Woody Allen's character. The Gershwin soundtrack was sublime and the black-and-white cinematography of 1970's Manhattan was a buffet for the eyes. Now I need to go take a shower to get the stench of 96 minutes of Woody Allen repeatedly talking about his sexual prowess as he dates an underage girl (Mariel Hemingway) and hangs out with his unpleasant friends off of me.

Uninteresting confused movie that was a chore to get through.

Allen's Manhattan is a director's lovingly idealized depiction of New York City, with glossy black and white cinematography making the landscape seem polished and ethereal. Towering buildings loom and landmarks stand like vaunted monuments; while the grime can't really be avoided in any depiction of New York ca. 1980, it's downplayed and treated like an oddly cherished part of the city's identity. At one point, we trail along behind a white Mustang as it cruises (alone) near the Hudson, listening in on the conversation between the passengers 30 feet ahead. There's no ambient noise, no traffic, no echoes from ten million other lives. It may not be realistic, but it does certainly look great. In this somewhat fictionalized playground of the intelligentsia steps Woody Allen as Isaac Davis, the next name given to the same personality that Allen does in most of classics - fretful, highly educated, verbose, and with a sardonic wit. But that's because his character works so well, and is pretty much endlessly entertaining. Isaac forms the centerpiece of a network of current and former lovers, friends, and colleagues who explore the possibilities of companionship through a series of small-scale encounters and everyday meetings where their sincere discussions are intermixed with heavy doses of humor and sarcasm. The roles are all well-played enough for the film to function as a straight-up comedy, but as the runtime rolls on you begin to see that there is an emotional depth behind it all - nobody is sure of themselves, everyone is making it up as they go along, and the passions are fickle. In this carefully photographed NYC that is beautifully accentuated by the musical talents of George Gershwin, there is a commentary on love and life that will end up hitting surprisingly hard after getting you to let your guard down with some great comedy. Then you get thrown off by the middle-aged Allen having an openly sexual relationship with a 17-year-old girl, and you've got to spend the rest of your day muttering about how "it was a different time," so you can keep liking the film. (4/5)

A smart, funny, poignant and romantic movie that feels bad due to recent Woody Allen acusations.

Easily one of the very best films of the 1970s. Woody Allen confidently keeps the comedy and drama in perfect balance while coaxing luminous turns from Diane Keaton, Meryl Streep & Mariel Hemingway. George Gershwin's legendary music combined with Gordon Willis' genius black and white cinematography perfectly captures New York's energy and essence; it will never again be this romantic.

Lorsque Manhattan arrive dans la filmographie déjà stellaire de Woody Allen, le film est déjà une partie intégrante de son oeuvre. S'il voulait qu'on comprenne ce qu'il est, Woody Allen n'aurait pas pu faire mieux que cette comédie dramatique aussi touchante qu'énervante et parfois même révoltante. Il y joue un quarantenaire en couple avec une fille de 17 ans (formidable Mariel Hemingway) qui découvre que le bonheur n'est pas ce qu'il espérait et qu'il ne peut pas le contrôler. Aussi répréhensible que cela puisse être (et le film le dit très souvent), Woody Allen semble parler de lui avec une sincérité proche de la gêne, n'a jamais été aussi névrosé, drôle et énervant et surtout est filmé par Gordon Willis, qui réalise certains des plus beaux plans de l'Histoire du Cinéma, surtout quand Allen est réuni avec Diane Keaton. Manhattan est un chef d'oeuvre absolu, un film parfois très dérangeant, sincère et empli d'une tristesse et d'une mélancolie inhérente quasiment impossible à évacuer.

Woody Allen and Diane Keaton together is just delightful to watch, while the film is full of romanticism, laughs, astonishing humor and gets that classic feeling.

Love letter to Manhattan and to an idealized Woody Allen to be linked to Diane Keaton, Mariel Hemingway and Meryl Streep