Manhattan (1979)

If you ever happen to get a chance to see this on the big screen: run, do not walk. Push over an old lady if she's in your way. BUT GET TO THAT THEATER.

Considering that I've only seen 2 Woody Allen movies on the big screen previous to this (Scoop and Vicky Christina Barcelona), neither of which could be considered close to Allen's best work, this was like a religious experience to me. The way there's not even opening credits, just that incredible montage of NYC, it's like a visual fanfare. I think this is a sad but optimistic movie, and that opening sets that immediately, and directly ties into the end when Isaac is listing the reasons life is worth living: no matter what kind of heartbreak, betrayal, or sadness he may encounter, there's always the Guggenheim. There's always Gershwin.

Also, this is the first viewing everything really clicked for me. Again, even though I do most of my viewing at home on DVD, there are some films that only really live on the big screen. That one shot of Tracy reading, isolated by a little light in the darkened apartment takes on an entirely different life when it's viewed on a screen much much more vast than my 30'' TV. I better understood the relationships in general. There is no one on this planet who was able to make jokes that also reveal character like Woody Allen, and in no movie does he do it better than here. Every one-liner Isaac says not only got a laugh from the audience, but reveals something about himself, and his relationship with who he tells it to. It's utterly brilliant writing.

And the ending made more sense to me this time around. The whole film is about progression and regression. People are torn between the comfort of the past and the excitement of the future. Diane Keaton's relationship with Michael Murphy (who, by the way, is the only weak link in the cast) is regressive for her. It has no future. But for Michael Murphy, it's exciting, he wants to keep it going. Woody's relationship with Mariel Hemingway is the same. It's regressive for him, it's easy because she worships him and doesn't assert herself. So after his relationship with Diane Keaton's character falls apart, because she's too afraid and goes back to Michael Murphy, he tries to go back to Mariel Hemingway, but it's too late, she's decided to be progressive. And he's forced to do the same, having no other choice.

It's a long movie, and I felt the length, but I couldn't really name any scene that would be better left out of the film. Annie Hall still wows me on entirely different levels, and is funnier to boot, but this is definitely one of the all time great Woody Allen films. Which means it's one of the greatest films of all time.

Sunday. The Music Box has been doing Woody Allen Matinees on the weekends for the past month or so. Unfortunately, due to my boss being unorganized and horrible at his job, I wasn't able to see Annie Hall on the big screen, even though it was during my birthday that I requested off a month in advance.

Next week is Hannah and Her Sisters, another really great one. They've also shown Another Woman (which is eh) and Bananas.