IMDb RATING
7.8/10
142K
YOUR RATING
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.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.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.
IMDb RATING
7.8/10
142K
YOUR RATING
Anne Byrne Hoffman
- Emily
- (as Anne Byrne)
Storyline
Did you know
- TriviaThere is allegedly a clause in the studio's contract for the film that mandates that the movie must always be shown in letterbox format in any home video release and/or TV/cable broadcast.
- GoofsIn the first scene at Elaine's, as Isaac is beginning to say something, two people (presumably customers of the restaurant, as it was running while they were shooting) walk in front of the camera. Isaac laughs, and quickly recovers with an impromptu remark about how his girlfriend has to go and do homework.
- Quotes
Isaac Davis: All the times I come over here, I can't understand how you can prefer her to me.
Jill: You can't understand that?
Isaac Davis: No. It's a mystery to me.
Jill: Well, you knew my history when you married me.
Isaac Davis: I know. My analyst warned me, but you were so beautiful that I got another analyst.
- Crazy creditsOne of the very few Woody Allen films to not have traditional opening credits, save the production company bumper (United Artists), and the film title MANHATTAN is seen as a long vertical flashing bright neon sign, located on the side of a New York City building, and is seen for under seven seconds just before Woody Allen narrates his first line.
- ConnectionsEdited into Intimate Portrait: Diane Keaton (2001)
- SoundtracksRhapsody in Blue
(1924)
Music by George Gershwin
Performed by New York Philharmonic (as The New York Philharmonic)
Conducted by Zubin Mehta
Piano soloist: Paul Jacobs
Music director: Zubin Mehta
Review
Featured review
City Of Love
Some might call this film "navel gazing", but when the gazing pertains to an entire generation, it feels relevant.
Woody Allen's tribute to his city is a delight to watch, accompanied by the Gershwin melodies that are iconically American. When he gets into the story of the film, his character, Isaac, is similar to other characters he has played, but Allen focuses on questions about relationships that resonate with others.
Isaac is surrounded by other relationships-and piece of relationships-in disarray. Marriage and divorce try to arrange feelings neatly, to institutionalize them, but reality is not so orderly. In this film, no one asks how someone can have feelings for more than one person at a time, because this is a film about reality, not about cinematic conventions or fairy tale conceptions of romance.
Isaac is dating a much younger woman named Tracy (Mariel Hemingway) who makes him feel safe because he knows it can never, really, go anywhere. He keeps her at arm's length, emotionally, and never allows himself to think of commitment. He eventually second guesses this strategy, because he always wants what he cannot have-which is more than he currently has.
The ending is perfect, whether you read it as noncommittal or as a statement by Tracy. Her lack of experience means that we can never really know if her love is significant or merely of the moment. In a way, that makes her perfect for Isaac who, despite all his experience, is similarly inscrutable.
This story feels right being set in the city. And the sophisticated conversations about art and philosophy that one expects in an urban setting perfectly ensconce the dialogue about relationships. When Mary (Diane Keaton) gives her vapid opinions of art works, so couched in pseudo-intellectual artspeak, we perceive them the way we perceive their pseudo-psychological conversations about relationships. And it feels real.
Woody Allen's tribute to his city is a delight to watch, accompanied by the Gershwin melodies that are iconically American. When he gets into the story of the film, his character, Isaac, is similar to other characters he has played, but Allen focuses on questions about relationships that resonate with others.
Isaac is surrounded by other relationships-and piece of relationships-in disarray. Marriage and divorce try to arrange feelings neatly, to institutionalize them, but reality is not so orderly. In this film, no one asks how someone can have feelings for more than one person at a time, because this is a film about reality, not about cinematic conventions or fairy tale conceptions of romance.
Isaac is dating a much younger woman named Tracy (Mariel Hemingway) who makes him feel safe because he knows it can never, really, go anywhere. He keeps her at arm's length, emotionally, and never allows himself to think of commitment. He eventually second guesses this strategy, because he always wants what he cannot have-which is more than he currently has.
The ending is perfect, whether you read it as noncommittal or as a statement by Tracy. Her lack of experience means that we can never really know if her love is significant or merely of the moment. In a way, that makes her perfect for Isaac who, despite all his experience, is similarly inscrutable.
This story feels right being set in the city. And the sophisticated conversations about art and philosophy that one expects in an urban setting perfectly ensconce the dialogue about relationships. When Mary (Diane Keaton) gives her vapid opinions of art works, so couched in pseudo-intellectual artspeak, we perceive them the way we perceive their pseudo-psychological conversations about relationships. And it feels real.
helpful•30
- atlasmb
- Jun 13, 2022
Details
Box office
- 1 hour 36 minutes
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