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Manhattan
Product Type: DVD
Product Price: $14.98
Manufacturer: MGM (Video & DVD)
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Description
Nominated for two Academy AwardsÂ(r)* in 1979 and considered "one of Allen's most enduring accomplishments" (Boxoffice), Manhattan is a wry, touching and finely rendered portrait of modern relationships against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format) and accompanied by a magnificent Gershwin score, Woody Allen's aesthetic triumph is a "prismatic portrait of a time and a place that may be studied decades hence" (Time). 42-year-old Manhattan native Isaac Davis (Allen) has a job he hates, a seventeen-year-old girlfriend, Tracy (Mariel Hemingway), he doesn't love and a lesbian ex-wife, Jill (Meryl Streep), who's writing a tell-all book about their marriage and whom he'd like to strangle. But when he meets his best friend's sexy intellectual mistress, Mary (Diane Keaton), Isaac falls head over heels in lust! Leaving Tracy, bedding Mary and quitting his job are just the beginning of Isaac's quest for romance and fulfillment in a city where sex is as intimate as a handshakeandthe gateway to true love is a revolving door. *Supporting Actress (Hemingway); Original Screenplay
Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalog of Things that Make Life Worth Living. But Manhattan is also distinguished in the realm of home video as the first motion picture to be released only in a widescreen version. You wouldn't want to see it any other way. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more unsolvable, terrifying problems about the universe." It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favorite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvelous kind of negative capability.") The movie's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me," and "It's very important to have some kind of personal integrity." OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson
Reviews
Rating: 4 / 5
Date: 2010-06-19
Summary: "Physically beautiful, wise, if (for me) slightly more emotionally distanced than 'Annie Hall'"
One of the most stunningly beautiful to look at films of the last 50 years, made with great wit, and full of strong observations about loss, aging, and how we lie to ourselves. Still, it doesn't quite rise to the level of `Annie Hall' for me in terms of timelessness or emotional impact. A film I really, really like, respect, see why others have it on their '10 best of all time' lists, etc. but feel guilty that I can't flat out love. Somehow all the adult characters' self-obsessed narcissism keeps me at arms length. I identify with moments, but -- unlike Annie Hall - not the whole. That said, it's strengths are so strong, and it has affected so many so deeply that I would say its a film any film lover owes themselves the chance to see. If nothing else, Gordon Willis' photography will leave you with images you'll never forget.
Rating: 4 / 5
Date: 2010-05-26
Summary: "The overture is filled with brash confidence: Gershwin's "Rhapsody in Blue," played over powerful black-and-white visions of"
...Manhattan and its skyline, and the mighty bridges leaping out to it from the provinces. The voice is filled with uncertainty and hesitation: "Chapter One. ..."
The voice is Woody Allen's, of course, and we find ourselves laughing -- actually laughing already -- on the words "Chapter One," because the Allen character is so firmly established in our imaginations that we supply the rest of the joke ourselves. "Chapter One," yes, but Woody's the definitive vulnerable artist with giant dreams, and so of course he begins with confidence but will be mired in self-doubt long, long before Chapter Two.
A great deal of the success of Allen's "Manhattan" depends on how well he has established that Woody persona. Because we believe we know him (or the character he plays), we supply additional dimensions to the situations on the screen. A movie that might seem sketchily fleshed-out in other hands becomes a great deal more resonant in Allen's: This is a variation on a familiar theme.
And the Gershwin is a masterstroke. Woody Allen populates his film with people who are at odds with their own visions of themselves. They've been so sold, indeed, on the necessity of seeming true and grave and ethical that even their affairs, their deceptions, have to be discussed in terms of "values" and "meanings" -- the dialogue in this film was learned in psychoanalysis. Their rationalizations double back upon themselves, and then, clear as a bell on the sound track, there are the Gershwin songs. "S'Wonderful" and "Embraceable You" and "Sweet and Low Down" and "I've Got a Crush on You" ... written as if love were simple, for chrissakes, and you actually could "fall" in love when we all know it's more a matter of pulling yourself up, hand over hand, out of a pit of snapping emotions. In Allen's earlier films, middle-class society was usually the contrast to the Woody character's hang-ups and fantasies. This time, brilliantly, he sets his entire story in a "real" world -- and uses the music as the counterpoint. No wonder it's deliberately loud and dominating; Gershwin is the second most important person in this film.
Allen's humor has always been based on the contrast between his character ("Woody," spectacled, anemic, a slob, incredibly bright and verbal, tortured by self-doubt) and his goals (writing a great novel, being like Bogart, winning the love of beautiful women). The fact that he thinks he can achieve his dreams (or that he pretends he thinks he can) makes him lovable. It is amazing, for example, how many women believe they are unique because they find Woody sexy.
What Allen does in "Manhattan" is to treat both the Woody character and the goals with more realism, and to deal with them in an urban social setting we can recognize. He was already doing this in Annie Hall, the comedy the critics said was "really" serious -- as if comedy were not already serious enough. His earlier movies were made from farce, slapstick, stand-up verbal wit, satire, and the appeal of the Woody character. "Annie Hall" and "Manhattan" are made from his observations about the way we talk and behave, and the fearsome distances between what we say and what we mean, and how we behave and how we mean to behave.
The story follows several characters through several affairs. Woody himself is twice-divorced as the movie opens -- most recently from a lesbian who is writing a book that will tell all about their marriage. He is having an affair with a seventeen-year-old girl (Mariel Hemingway). His best friend, Yale (Michael Murphy), is married and is having an affair with a girl he met at a party (Diane Keaton). But Murphy has doubts about the relationship, and so subtly tries to shift Keaton to Allen, who in the meantime thinks he wants to ditch the seventeen-year-old. Inevitably, Woody and Keaton begin to fall in love, and their courtship is photographed against magnificent Manhattan backdrops. And once this is all set up, of course, it goes topsy-turvy.
The relationships aren't really the point of the movie: It's more about what people say during relationships -- or, to put it more bluntly, it's about how people lie by technically telling the truth. "Manhattan" is one of the few movies that could survive a sound track of its dialogue; a lot of it, by Allen and Marshall Brickman, has the kind of convoluted intellectual cynicism of the early Nichols and May (and a lot of the rest of it consists of great one-liners).
"Manhattan" has been almost routinely praised by the New York critics as "better than Annie Hall." I don't think so. I think it goes wrong in the very things the New York critics like the most -- when, in the last forty-five minutes or so, Allen does a subtle turn on his material and gets serious about it. I'm most disturbed by the final scene between Woody and Mariel Hemingway. It's not really thought out; Allen hasn't found the line between the irony the scene needs and the sentiment he wants his character to feel. The later scenes involving the Michael Murphy character are also not as good as the early ones; the character is seen correctly for humor, but hasn't been developed completely enough to bear the burden of confession.
And yet this is a very good movie. Woody Allen is ... Woody, sublimely. Diane Keaton gives us a fresh and nicely edged New York intellectual. And Mariel Hemingway deserves some kind of special award for what's in some ways the most difficult role in the film. It wouldn't do, you see, for the love scenes between Woody and Mariel to feel awkward or to hint at cradle-snatching or an unhealthy interest on Woody's part in innocent young girls. But they don't feel that way: Hemingway's character has a certain grave intelligence, a quietly fierce pride, that, strangely enough, suggest that even at seventeen she's one Woody should be thinking of during Gershwin's "Someone to Watch Over Me."
NOTE: The home video version of "Manhattan" (VHS, LaserDisc, DVD) was released in "letterboxed" format, with black or grey bands at the top and bottom to preserve the wide-screen composition of the film. This unusual decision reflects Allen's perfectionism -- and provides an eye-opening demonstration of how much is lost when other widescreen formats are squeezed into the video frame.
Rating: 3 / 5
Date: 2010-04-12
Summary: "nice appearance, not high on substance"
I'm a big Allen fan and the gershwin and gray manhattan is lovely, but not any more lovely really than the nostalgic stew allen cooks musically in most of his movies. overall, the love story between 60 and 20 doesn't ring profound for me, and has lost luster steadily with each gray hair.
Rating: 4 / 5
Date: 2009-12-15
Summary: "A Pedophile's Fantasy"
I just re-watched this movie recently. I loved it in college, and thought Woody was a genius. The dialogue and story are still great, the cinematography is beautiful, and New York City shines as a majestic, romantic city. Woody's depiction of the neurotic intellectual elite crowd in Manhattan is entertaining and hilarious.
But today I see something sinister here that I didn't twenty years ago. Maybe it has to do with the whole twisted Soon Yi-Mia business that happened in the subsequent years. Maybe it's because now that I'm the age of Ike Davis, I realize how screwed up it is for a guy in his forties to be dating a high school student. Maybe now that I have daughters of my own, I know I'd never want them to get involved with a 42 year-old guy when they were still wearing braces.
Strip away the learned banter about Kafka and Bergman, the great black and white shots of the city, the wry, pithy remarks from Ike, and this movie essentially glorifies and presents as healthy what is legally considered statutory rape. If you want to be really blunt about it, you might say that this movie is a pedophile's fantasy.
Ike Davis's manipulation and mistreatment of Tracy is presented as not such a bad thing. Tracy, the pure, sweet, yet sexually wild nymphet (the pedophile's fantasy, indeed) accepts it all, and remains loyal to her 42 year-old man. Ike's constant complaints to his friends about how he realizes Tracy is too young and how he has to get out of the relationship are supposed to show that he's not some predatory sicko but a normal guy who shares the audience's moral perspective.
Yet he ultimately discards any concerns he has about the propriety of his relationship with Tracy. He concludes that his relationship with Tracy is the best one he's ever had with a "woman" and wants her to cancel her 6-month trip to London so she can get back together with him. She tells Ike that had he come to her a week earlier, she might have considered it. But not to worry, says Tracy: "What's six months if we both love each other?". Despite Ike having cheated on her, dumped her, and repeatedly told her that he's unwilling to commit to her, Tracy still regards him as her true love.
So again, it's the pedophile's fantasy: this isn't an abusive, inappropriate relationship--it's true love! Ike's mistreatment of Tracy and taking advantage of her childlike naïveté is not morally wrong--see, she still loves him and wants more! The best partner for a 42 year-old accomplished intellectual man is not an accomplished intellectual woman the same age like Diane Keaton's character--no, it's a girl in high school!
I read an article in the NY Times recently about how, given the increased awareness of sexual abuse of children that has emerged since 1979, a movie like Manhattan could never get made today. That's probably not such a bad thing. Back in the 80s, I read a glowing review of Manhattan that talked about Ike Davis's smile in the final scene when Tracy tells him he has to have a little more faith in people. That smile was so profound, said the reviewer, the perfect expression of the complex emotions in the lives of these elite intellectual New Yorkers. I agreed with the reviewer 20 years ago. But when I re-watched the movie the other day, all I could think was that if it was my daughter this guy was preying on, if I saw that smile I'd want to get him locked up.
Rating: 5 / 5
Date: 2009-09-05
Summary: "Piano Music During DVD Menu"
I have always loved this film, but this isn't really a review. I just want to know: Does anybody know who performs the jazz solo piano piece that plays during the DVD main menu? Is it Dick Hyman perhaps? And is that track available anywhere on CD or iTunes or Amazon MP3 download? It's a beautiful track, but it's not on the Manhattan soundtrack, and I WANT IT!