Manhattan (1979)

A divorced New Yorker currently dating a high-schooler brings himself to look for love in the mistress of his best friend instead.

Director:

Woody Allen

Writers:

Woody Allen, Marshall Brickman

Stars:

Woody Allen, Diane Keaton, Michael Murphy

Top 250 #242 | Nominated for 2 Oscars. Another 19 wins & 14 nominations.

Cast

Cast overview, first billed only:
Woody Allen	...	Isaac
Diane Keaton	...	Mary
Michael Murphy	...	Yale
Mariel Hemingway	...	Tracy
Meryl Streep	...	Jill
Anne Byrne Hoffman	...	Emily (as Anne Byrne)
Karen Ludwig	...	Connie
Michael O'Donoghue	...	Dennis
Victor Truro	...	Party Guest
Tisa Farrow	...	Party Guest
Helen Hanft	...	Party Guest
Bella Abzug	...	Guest of Honor
Gary Weis	...	Television Director
Kenny Vance	...	Television Producer
Charles Levin	...	Television Actor #1

Storyline

Isaac, 42, has divorced Jill. She is now living with another woman, Connie, and is writing a book in which she will reveal some very private points of their relationship. Isaac has a love affair with Tracy, 17, when he meets Mary, the mistress of his best friend Yale. Yale is already married to Emily.

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Plot Keywords:

love | writing | writer | lolita | break up | 

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Taglines:

Woody Allen's New Comedy Hit

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Genres:

Comedy | Drama | Romance

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Certificate:

R

Details

Country:

USA

Language:

English

Release Date:

25 April 1979 (USA)

Also Known As:

Menhetn

Filming Locations:

5th Avenue, Manhattan, New York City, New York, USA

Box Office

Gross:

$45,700,000 (USA)

Company Credits

Production Co:

Jack Rollins & Charles H. Joffe Productions

Technical Specs

Runtime:

96 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Woody Allen disliked his work in this film so much he offered to direct another film for United Artists for free if they kept "Manhattan" on the shelf for good.

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Goofs

In the final scene, when the chauffeur takes Tracy's bags out of her building, we can see (via reflection) that he leaves the glass front door open. When we cut 180 degrees back to Isaac, the door is still closed.

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Quotes

[first lines]
[music: the opening of Gershwin's Rhapsody in Blue. Voiceover]
Isaac Davis: Chapter One. He adored New York City. He idolized it all out of proportion. Eh uh, no, make that he, he romanticized it all out of proportion. Better. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin. Uh, no, let me start this over.
Isaac Davis: Chapter One: He was too romantic about Manhattan, as he was about everything else. He thrived on...
[...]

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Crazy Credits

There are no opening credits, save the production company bumper and the film's title, which appears as part of a flashing neon sign in New York City.

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Connections

Referenced in Burning Annie (2004)

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Soundtracks

"I've Got a Crush on You"
(1930)
Music by George Gershwin (uncredited)
Performed by New York Philharmonic (as The New York Philharmonic)
Music director: Zubin Mehta

User Reviews

Magical film about the city and those looking for love

Woody Allen once said that, whereas Scorsese had generated a host of imitators, he had generated none. This may be true; films like Manhattan certainly come along far too infrequently.

That this is such a gorgeous film may strike those following the formulaic, Hollywood approach to cinema as strange and heretical. The story is unexciting (restless male in love triangle), most of the characters are unsympathetic, at least on the surface (particularly Isaac), Allen leaves lose ends lying around all over the place, and there's certainly no action (unless you count the car-chase-without-a-chase-scene involving Diane Keaton, Woody Allen and a VW Beetle).

So why should any self-respecting member of the MTV generation spend time on this film? Well, here are a few reasons.

The script is wit of the highest order. This is not gag-a-minute humour like Friends, but an altogether more acute art form stemming from character, some wonderful dialogue and a fair amount of darkness (I love the bit about Isaac trying to run over his ex-wife's lover). Allen is also prepared to turn his biting satire to personal issues, such as being Jewish. Just don't expect someone to look shrug their shoulders, slap their forehead and with mid-rising intonation say d'uh! It's not that kind of comedy.

Then there is the gorgeous cinematography. Woody loves Manhattan and you can certainly tell. If there is one criticism of the film, it is that it leaves a rather picture postcard impression of the city, but I suppose if it's love, then it's love. Much of the film appears to have been shot at either sunrise or sunset to soften the light, and there are spectacular views of the towers, bridges and waterways of America's finest metropolis.

Then, I suppose, there is the fact that Manhattan is probably the archetypal Woody Allen film. Other films may be better, like Annie Hall or Hannah and Her Sisters but, in Manhattan, all the elements of Allen's style are in perfect balance. There's the jazz, the neurotic, unsympathetic lead, the choice between stable and highly-strung women, the self-mocking humour (hilariously done in the opening voice-over), the railing against intellectual snobbery, the deep unease with popular culture.

And there are great performances. Allen is at his most difficult – and in some ways his least likable. As Isaac, he's trying to do the right thing, but is rarely selfless enough to follow through with it. Diane Keaton is great as Mary, the lynchpin between the two love triangles – vain, pretentious and yet you can see why Isaac falls for her. Well, all the actors are great, and very believable, but special mention must go to Meryl Streep, who manages to steal the show with her tiny cameo as Isaac's ex-wife, writing a book about their break-up and living with their son and her lover. She is magnificent.

Of course, the film will also do nothing to dispel the popular rumour that New Yorkers are neurotic, self-obsessed and self-indulgent – at least that narrow social circle Allen so often writes about. If you don't mind that, though (and I'm English, so what do I care) you're in for a treat. As with the city itself, the memories of this film will stay with you forever.