Produced at the time of his all too public break up with Mia Farrow (she was originally in Keaton's role - and still wanted the part in spite of all that was going on with Allen, make of that what you will) this was intended as a light hearted diversion. And on that level alone it certainly succeeds. I would probably place it in the same vein as 'Small Time Crooks' in the respect that its one of his pure comedies, but (like all of Allen's films) still has room for subtext, in this case commenting on the banality that faces married couples. I think that Allen is saying that boredom in marriage is something natural and inevitable, but doesn't seem to be condoning looking outside of the marriage to change things (look at what happens to the characters here when they do). The problems have to be looked at by the couple themselves. And what a couple it is: Diane Keaton and Woody Allen have rare comedic chemistry that is consistently a joy to watch. The script may not be comparable to Allen's best but the casting, in my opinion at least, compensates for this. Anjelica Huston and Alan Alda are also effective in their supporting roles, Huston in particular as the enigmatic author. Even Joy Behar (the Noo Yawker on TV's 'The View') is acceptable and not grating in a minor role.
N.B. The film contains references and allusions to some of the film noirs: 'Double Indemnity' and 'Lady from Shanghai' in particular. I think that the latter film may be important to see so one can fully appreciate the ending. One of the great things about Allen is that unlike many other contemporary film makers, he works on the assumption that the audience does know something: has seen important movies and has read important books, so will be able to understand such references.
Recommended, regardless of whether you happen to be an Allen aficionado.
N.B. The film contains references and allusions to some of the film noirs: 'Double Indemnity' and 'Lady from Shanghai' in particular. I think that the latter film may be important to see so one can fully appreciate the ending. One of the great things about Allen is that unlike many other contemporary film makers, he works on the assumption that the audience does know something: has seen important movies and has read important books, so will be able to understand such references.
Recommended, regardless of whether you happen to be an Allen aficionado.