IMDb > Manhattan (1979)
Manhattan
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Manhattan (1979) More at IMDbPro »

Photos (See all 43 | slideshow) Videos (see all 2)
Manhattan -- Trailer for Woody Allen's "Manhattan"

Overview

User Rating:
8.0/10   87,134 votes »
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Director:
Writers:
Woody Allen (written by) and
Marshall Brickman (written by)
Contact:
View company contact information for Manhattan on IMDbPro.
Release Date:
25 April 1979 (USA) See more »
Genre:
Tagline:
Woody Allen's New Comedy Hit
Plot:
The life of a divorced television writer dating a teenage girl is further complicated when he falls in love with his best friend's mistress. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 2 Oscars. Another 19 wins & 16 nominations See more »
User Reviews:
A love song to Manhattan disguised as romantic comedy See more (224 total) »

Cast

  (in credits order) (verified as complete)

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

Karen Allen ... Television Actor #2

David Rasche ... Television Actor #3
Damion Scheller ... Isaac's Son

Wallace Shawn ... Jeremiah

Mark Linn-Baker ... Shakespearean Actor (as Mary Linn Baker)

Frances Conroy ... Shakespearean Actress
Bill Anthony ... Porsche Owner #1
John Doumanian ... Porsche Owner #2
Raymond Serra ... Pizzeria Waiter (as Ray Serra)
rest of cast listed alphabetically:
Llewellyn Lafford ... Broadway Pedestrian (uncredited)
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Directed by
Woody Allen 
 
Writing credits
Woody Allen (written by) and
Marshall Brickman (written by)

Produced by
Robert Greenhut .... executive producer
Charles H. Joffe .... producer
Jack Rollins .... producer
 
Cinematography by
Gordon Willis (director of photography)
 
Film Editing by
Susan E. Morse (film editor)
 
Casting by
Juliet Taylor 
 
Production Design by
Mel Bourne 
 
Set Decoration by
Robert Drumheller 
 
Costume Design by
Albert Wolsky 
 
Makeup Department
Fern Buchner .... makeup artist
Romaine Greene .... hair stylist
Craig Lyman .... additional makeup artist (uncredited)
 
Production Management
Martin Danzig .... production manager
Michael Peyser .... unit supervisor
 
Second Unit Director or Assistant Director
Frederic B. Blankfein .... assistant director (as Fredric B. Blankfein)
Lewis Gould .... dga trainee (as Lewis H. Gould)
Joan Van Horn .... second assistant director (as Joan Spiegel Feinstein)
 
Art Department
Joseph Badalucco Jr. .... carpenter (as Joseph Badaluco)
Leslie Bloom .... property master
Justin Scoppa Jr. .... set dresser
Cosmo Sorice .... scenic artist
James Sorice .... scenic artist
Morris Weinman .... set dresser
 
Sound Department
Jack Higgins .... re-recording mixer
Vito L. Ilardi .... boom man (as Vito Ilardi)
Lowell Mate .... assistant sound editor
James Sabat .... sound mixer
Dan Sable .... sound editor
Leslie Gaulin .... assistant sound editor (uncredited)
 
Stunts
Victoria Vanderkloot .... stunt performer (uncredited)
 
Camera and Electrical Department
Brian Hamill .... still photographer
Jim Hovey .... assistant cameraman (as James Hovey)
Fred Schuler .... camera operator
Dusty Wallace .... gaffer
Robert Ward .... key grip
Douglas C. Hart .... first assistant camera: "b" camera (uncredited)
Robert Paone .... second assistant camera (uncredited)
 
Casting Department
Howard Feuer .... casting associate
Jeremy Ritzer .... casting associate
 
Costume and Wardrobe Department
Clifford Capone .... costumer
C.J. Donnelly .... wardrobe supervisor
Ralph Lauren .... wardrobe: Mr. Allen
 
Editorial Department
Michael R. Miller .... assistant film editor
 
Music Department
Bud Graham .... music recording engineer
Andrew Kazdin .... audio producer: New York Philharmonic
Ray Moore .... music recording engineer
Tom Pierson .... music adaptor
Tom Pierson .... music arranger
Don Rose .... music arranger: Buffalo Philharmonic
 
Transportation Department
James Fanning .... transportation captain
 
Other crew
Kay Chapin .... script supervisor
Cheryl Hill .... production assistant
Scott MacDonough .... unit publicist
Kathleen McGill .... location auditor
Jennifer Ogden .... production office coordinator
Gail Sicilia .... assistant: Mr. Allen
Robert E. Warren .... production assistant
Charles Zalben .... production assistant
Dennis Kear .... stand-in: Woody Allen (uncredited)
 
Thanks
Paul Glanzman .... the producers gratefully acknowledge the cooperation of (as Lieutenant Paul Glanzman)
Ed Koch .... the producers gratefully acknowledge the cooperation of (as Mayor Ed Koch)
Nancy Littlefield .... the producers gratefully acknowledge the cooperation of
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
96 min
Country:
Language:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Argentina:18 (original rating) | Argentina:13 (re-rating) | Australia:M | Brazil:12 | Canada:18A (Ontario) | Chile:18 | Finland:K-12 | France:U | Ireland:18 | Netherlands:AL | Netherlands:AL (orginal rating) | Norway:16 (original rating) | Peru:14 | Portugal:M/12 | Singapore:PG | South Korea:18 | Sweden:11 | UK:AA (original rating) | UK:12A (re-rating) (2006) | UK:15 (video rating) (1987) | USA:R | West Germany:12

Did You Know?

Trivia:
While talking to Mary in the museum, Isaac (Woody Allen) says that the brain is the most overrated body part. While in Allen's film Sleeper (1973), his character Miles Monroe says that it's his second favorite body part.See more »
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers): Mary (Diane Keaton) is supposed to be an intellectual, but when she says the name Diane Arbus, she mispronounces it, saying "Diane" the same way you would say Diane Keaton. Diane Arbus' first name is pronounced "Dee-Ann".See more »
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 the hustle bustle of the crowds and the traffic. To him, New York meant beautiful women and street smart guys who seemed to know all the angles. Ah, corny, too corny for, you know, my taste. Let me, let me try and make it more profound.
[...]
See more »
Movie Connections:
Featured in Sidewalls (2011)See more »
Soundtrack:
Symphony No.40 in G minor, K.550: First Movement (Molto allegro)See more »

FAQ

Is "Manhattan" based on a book?
Why is this always letterboxed?
Why did Yale spend all that money on a Porsche in traffic-clogged Manhattan?
See more »
50 out of 77 people found the following review useful.
A love song to Manhattan disguised as romantic comedy, 14 May 1999
Author: (suze12@yahoo.com) from Vancouver

I won't rework the thorough comments which preceded mine here, because all the accolades I would give this film are stated quite eloquently. It is his best film; it does contain brilliant insights into human nature; it is visually breathtaking. I just want to mention a few aspects from my point of view.

It has been on my list of the five best movies ever made ever since I saw it in 1979, chiefly for its realistic dialogue and probing commentary on the desperate nature of human beings in search of love, but I had never seen New York with my own eyes, so I could only try to accept but not fully understand Woody's love for Manhattan, which is firmly stated in the introductory narration.

After my recent 4 day trip there, I have a new perspective - the city itself is so charmingly and compactly laid out, so full of history and culture and everything famous, that you can't go to New York without falling in love with it. After only 3 days I felt I wanted to live there. It is the city of not only Woody Allen but Bob Dylan, Tennessee Williams, Edgar Allan Poe, George Washington, Paul Newman, Jacqueline Onassis, and hundreds of other illustrious and creative people of the past and present. The tour guides can't possibly squeeze in the whole story of every district and every building; the air just vibrates with this knowledge that you are in the greatest city in the world.

The beauty of Manhattan that Woody conveys so perfectly in every camera shot and through the music of Gershwin has new meaning for me because I was there. It's not so much a physical beauty but a feeling that all is right with the city, that this is what a city is supposed to be. It puts other cities to shame.

All I can say is he fully succeeded in conveying what New York City is like. Not to mention that I now understand the obsession with delis; they have the best food in the world.

I would also like to add my new perspective on the story itself - a very 70's plot of several people switching romantic partners back and forth at the drop of a hat. Diane Keaton's Mary remains the most perfect of the characterizations as the neurotic free spirit who despite her total self-absorption inspires our sympathy and affection. The 17 year old played by Mariel Hemingway is more irritating with the passage of 20 years, not because Woody's real-life obsession with young girls came to light, but because Mariel is a truly vapid non-actress with no ability to convey any depth or feeling. The constant commentary about her stunning beauty falls flat because she merely has a strikingly angular face, no personality and really possesses nothing except the bloom of youth and shiny hair. Mary rightly tells Isaac that his first wife becoming a lesbian "explains the little girl."

The denouement seems more unsatisfactory now than in previous viewings, and I want to shake the characters awake. But it was the seventies, and this is how people acted. It captures the times perfectly. I can't discuss who ends up with whom without spoiling the end for those who haven't seen it, but the problem for me is that the characters seem to live for the moment and if they can't have the one they want, they simply change partners without much strain.

This attitude does not play quite so charmingly at the end of the 90's when fidelity is valued more highly than it was in the 70's.

Nevertheless the beauty of the city stands alone no matter what the characters' desperate machinations.

And as a hilarious commentary on the human instinct to find someone to love no matter what the consequences, there is nothing finer. Though I might not approve of Isaac's final choice, his almost religious experience which brings him to that conclusion is a stunning climax to the film. Whether he changes his mind about who is the right one for him, he has learned something crucial about what really is important to him in life.

The true stars of the movie are Manhattan, never more beautiful, and Diane Keaton, never more brilliant.

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Message Boards

Discuss this movie with other users on IMDb message board for Manhattan (1979)
Recent Posts (updated daily)User
This was the last Woody Allen movie I liked michaelward15
Favourite line... history_beckons
'The city is changing' eXQScIT6
tracy looks like... davidwolfgangpeterson
why did it shot in Black + white ? noom98
He shouldn't have accepted that harmonica. DinahtheCat
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