Here’s a review of Manhattan by Woody Allen. I watch films from time to time and had some thoughts on this one, having had the (perhaps dubious) pleasure of viewing it earlier this month or perhaps in March.
Well. I was I have to say quite disappointed. Having watched Blue Jasmine and having been extremely impressed, I decided to embark upon an Allen-watching spree, someone I knew as a comedian and a television personality, but less as a filmmaker – I was vaguely aware of his career in that area but it was something the particulars of which had sadly passed me by until earlier this year. From there I watched Annie Hall and was of the immediate opinion that this was one of the true classics (I’d like to say this is a minority opinion however I’m not quite so deluded as to think that the objects of my refined taste don’t in fact have a much larger audience than one might suppose I may believe of them).
So Manhattan was the logical next stop, and… Now, in some ways, it is quite similar to the preceding watch – Diane Keaton the ever-present co-star, a relationship between her character and Woody Allen Allen’s character, the latter’s occasionally strikingly familiar quirks and sense of humour (not familiar enough; the viewer’s (or this viewer’s) search for that sense of familiarity is one of the film’s problems, but not the main one).
We have here a movie similar in some respects to the movie Annie Hall (which I had just watched). I am thus able to compare the two with reasonable ease.
One may use the analogy of a peak followed by a trough: in hindsight… and I’d recommend this to anybody yet to see either of these two films, I should say do not watch them one after the other, but if you must, watch Manhattan first and, as long as that hasn’t turned you off Allen completely, then watch Annie Hall. The other way around is a definite no no. Suffice to say, Annie Hall is by far the superior film, a superiority that is only accentuated by the number of comparisons that may be drawn between this and that element common to both films.
Before moving on, there are some obvious differences between the two that should be here considered. Annie Hall uses this – if not revolutionary – unconventional narrative technique with near-constant breaking of the fourth wall, metanarrative after metanarrative and so on and so forth (it brought to mind for me Charlie Kaufman’s Synecdoche, New York, except that film takes the metanarrative idea and stretches it as far as it can possibly go, to the point of incomprehensibility, though I do think more fondly than not of that film and generally appreciate Kaufman’s work). Manhattan on the other hand is (ultra-)conventional in its narrative structure, the token romance plot acting as a sort of glue for the evocation of the spirit of NYC which the movie is ostensibly a celebration of – the photography, the soundtrack, etc., seek to capture the life of Manhattan, NYC, and takes or I think should take precedence over the narrative. The problem is, the conventional plot is not far enough in the background; the photography and soundtrack aren’t brought far enough into the foreground – the whole film falls flat, giving neither enjoyment to those who love the cinematography, nor pleasure to those who seek something in the desperately boring romance of the plot which also has its continuity issues.
This may seem to be going into unnecessary minutiae, however two plot points may here be considered. 1) the cinema scene after the ‘first meeting’ of Keaton’s character and Murphy’s character’s wife, great cringeworthiness, excruciating, something that can certainly be identified with, destroyed, disregarded in the following scenes; the characters don’t build, are wooden, boring, you wouldn’t want to be around them; it’s more about the backdrop, scenery, music, etc. 2) the reading of Allen’s character as depicted in Streep’s character’s book: now the character there described is someone I would much prefer to see, and is in fact a more-or-less exact description of Allen’s character in Annie Hall; I’d like to think Allen knew this, that Streep’s character would exaggerate Allen’s in her book as he had feared, that this was his intention, to contrast the routine behaviourisms seen in this film with the – in a sense – larger-than-life, ridiculous nature of the characters in Annie Hall (characters which, however, through their own ridiculousness and that of the situations in which they found themselves, were paradoxically all the more real for it); while he intended for the characters of him and others in Manhattan to approximate more closely what’s found in real life and/or allow the backdrop of Manhattan, New York to rise to the surface more, given the irritating characters and intentionally flat, formulaic, old-fashioned romantic plot, which fails to approximate real life for those reasons.