Manhattan

4.25
    Manhattan
    1979

    Synopsis

    Manhattan explores how the life of a middle-aged television writer dating a teenage girl is further complicated when he falls in love with his best friend's mistress.

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    Cast

    • Woody AllenIsaac Davis
    • Diane KeatonMary Wilkie
    • Michael MurphyYale
    • Mariel HemingwayTracy
    • Meryl StreepJill
    • Anne Byrne HoffmanEmily
    • Karen LudwigConnie
    • Michael O'DonoghueDennis
    • Gary WeisTelevision Director
    • Kenny VanceTelevision Producer

    Recommendations

    • 100

      TV Guide Magazine

      Deft comedy set in a neurotic town. People may argue about the relative merits of Annie Hall vis-a-vis Manhattan, which is a better and more fully realized film. By this time Allen had forsworn the glib one-liner and spent more time developing well-rounded characters.
    • 100

      Empire

      One of Woody's most aesthetically gorgeous films as well as his classic love-hate letter to the city of his soul.
    • 100

      ReelViews

      If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the "average" entry into the genre makes it an extraordinary example of the fusion of entertainment and art. This is Allen in peak form, deftly mastering and combining the diverse threads of romance, drama, and comedy - and all against a black-and-white backdrop that makes us wonder why color is such a coveted characteristic in modern motion pictures.
    • 90

      Time

      What happens is not the substance of Manhattan as much as how it happens. The movie is full of moments that are uproariously funny and others that are sometimes shattering for the degree in which they evoke civilized desolation.
    • 88

      Chicago Sun-Times

      this is a very good movie. Woody Allen is ... Woody, sublimely. Diane Keaton gives us a fresh and nicely edged New York intellectual. And Mariel Hemingway deserves some kind of special award for what's in some ways the most difficult role in the film.
    • 88

      The Globe and Mail (Toronto)

      Never before has Allen been able to integrate comedy and pathos as deftly as he does in Manhattan. [28 Apr 1979, p. 17]
    • 88

      Slant Magazine

      Gordon Willis's too-dark lensing is an ideal match for the Scenes from a Marriage-inspired sequences of marital and amorous discord.
    • 80

      Wall Street Journal

      With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]

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