A late-70s classic depicting an unusually comedic love story. Woody Allen directs, writes and stars in 96 minute watch 'Manhattan'.
Director Woody Allen's love letter to New York City stars Allen as frustrated television writer Isaac Davis, a twice-divorced malcontent facing middle age alone after his wife, Jill (Meryl Streep), leaves him for a woman. Isaac is dating fresh-faced Tracy (Mariel Hemingway), a high school girl he knows is wrong for him, and begins to wonder if he and brainy writer Mary (Diane Keaton), the mistress of his best friend, Yale (Michael Murphy), might make a better couple.
The relatively short spectacle is appreciated greatest for its cinematography; shot entirely in black-and-white, Allen ensures the vibrancy and charm of Manhattan, New York, is exhibited and encapsulated through the characters and dialogue.
The writing offers a soft tone to the on-screen individuals, allowing a slow-paced feel to be present - enabling intimacy and reflection to be prioritised. Humour is a welcome component to the mainly lovey-dovey theme, permitting spectators to admire and sympathise with characters, making the film seem relatable to the common person.
Finally, all characters show a sense of vulnerability. All displaying their problems in a city of great opportunity contrasts neatly. A mix of personalities in search for the same thing, to be loved, epitomises the picture. A romantic story needs a romantic setting.
The film is like a painting. There is a stillness and elegance to it, but nothing really happens, and you end up only appreciating its image. It still feels as though it's missing something.
Director Woody Allen's love letter to New York City stars Allen as frustrated television writer Isaac Davis, a twice-divorced malcontent facing middle age alone after his wife, Jill (Meryl Streep), leaves him for a woman. Isaac is dating fresh-faced Tracy (Mariel Hemingway), a high school girl he knows is wrong for him, and begins to wonder if he and brainy writer Mary (Diane Keaton), the mistress of his best friend, Yale (Michael Murphy), might make a better couple.
The relatively short spectacle is appreciated greatest for its cinematography; shot entirely in black-and-white, Allen ensures the vibrancy and charm of Manhattan, New York, is exhibited and encapsulated through the characters and dialogue.
The writing offers a soft tone to the on-screen individuals, allowing a slow-paced feel to be present - enabling intimacy and reflection to be prioritised. Humour is a welcome component to the mainly lovey-dovey theme, permitting spectators to admire and sympathise with characters, making the film seem relatable to the common person.
Finally, all characters show a sense of vulnerability. All displaying their problems in a city of great opportunity contrasts neatly. A mix of personalities in search for the same thing, to be loved, epitomises the picture. A romantic story needs a romantic setting.
The film is like a painting. There is a stillness and elegance to it, but nothing really happens, and you end up only appreciating its image. It still feels as though it's missing something.