Manhattan Murder Mystery is a 1993 American black comedy mystery film directed by Woody Allen , which he wrote with Marshall Brickman , and starring Allen, Alan Alda , Anjelica Huston , and Diane Keaton . The film centers on a married couple's investigation of the death of their neighbor's wife.
171-543: The film began as an early draft of Annie Hall , which Allen co-wrote with Brickman. Eventually, the script evolved and principal photography took place in 1992, in the titular city. It was released in August 1993 to positive reviews. Keaton was nominated for a Golden Globe Award for Best Actress – Motion Picture Comedy or Musical . This film marked the eighth, and most recent, collaboration between Allen and Keaton. Larry Lipton, an editor at HarperCollins , and his wife Carol have
342-482: A crematory urn under his kitchen sink that contradicts his story about Lillian's burial. Carol decides to investigate and steals the key to the House apartment from the super , entering when Paul is away and snooping to find two tickets to Paris and hotel reservations with a woman named “Helen Moss.” Carol dials the code for the last number dialed, and the phone is answered by someone saying “Waldron”. Paul returns while Helen
513-420: A "technical wizard," saying, "I really count Annie Hall as the first step toward maturity in some way in making films." At the time, it was considered an "odd pairing" by many, Keaton among them. The director was known for his comedies and farces, while Willis was known as "the prince of darkness" for work on dramatic films like The Godfather . Despite this, the two became friends during filming and continued
684-420: A "technical wizard," saying, "I really count Annie Hall as the first step toward maturity in some way in making films." At the time, it was considered an "odd pairing" by many, Keaton among them. The director was known for his comedies and farces, while Willis was known as "the prince of darkness" for work on dramatic films like The Godfather . Despite this, the two became friends during filming and continued
855-439: A 94% positive "Fresh" rating on the review aggregator Rotten Tomatoes , with 29 positive out of 31 reviews. In his review for Newsweek , David Ansen wrote, "On screen, Keaton and Allen have always been made for each other: they still strike wonderfully ditsy sparks". USA Today gave the film four out of four stars, and advised fans to forget Allen's tabloid woes because "there's a better reason why Allen fans should give it
1026-538: A close look." Larry and Carol Lipton's apartment is at 200 East 78th Street, between 2nd and 3rd Avenue and between two groups of New York City Designated Landmarks , east of one group of rowhouses and west of another group . Allen staged a climactic shoot-out in a roomful of mirrors that, according to Allen, referenced a similar shoot-out in Orson Welles ' film The Lady from Shanghai . The film marked Allen's second and final film with TriStar Pictures , and it
1197-567: A date with Ted. Marcia theorizes that the dead body was Lillian's wealthy sister, who resembled her and had a heart attack while visiting the Houses. The Houses took advantage of the situation by claiming Lillian had died so Lillian could impersonate her sister, hiding at the Waldron Hotel, while cleaning out her sister’s bank accounts and liquidating her assets. After getting the funds, Paul double-crossed Lillian and killed her so he could run away with
1368-420: A dream to her psychoanalyst in which Frank Sinatra is smothering her with a pillow, which alludes to Freud's belief in dreams as "visual representations of words or ideas". Peter Bailey in his book The Reluctant Film Art of Woody Allen , argues that Alvy displays a "genial denigration of art" which contains a "significant equivocation", in that in his self-deprecation he invites the audience to believe that he
1539-420: A dream to her psychoanalyst in which Frank Sinatra is smothering her with a pillow, which alludes to Freud's belief in dreams as "visual representations of words or ideas". Peter Bailey in his book The Reluctant Film Art of Woody Allen , argues that Alvy displays a "genial denigration of art" which contains a "significant equivocation", in that in his self-deprecation he invites the audience to believe that he
1710-477: A happy ending to his relationship with Annie in his autobiographical first play as forgivable "wish-fulfillment." Allen chose to have Alvy break the fourth wall , he explained, "because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them." The idea for what became Annie Hall was developed as Allen walked around New York City with co-writer Marshall Brickman . The pair discussed
1881-477: A happy ending to his relationship with Annie in his autobiographical first play as forgivable "wish-fulfillment." Allen chose to have Alvy break the fourth wall , he explained, "because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them." The idea for what became Annie Hall was developed as Allen walked around New York City with co-writer Marshall Brickman . The pair discussed
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#17328867332072052-525: A man who "forgot [his] mantra " at Tony Lacey's Christmas party; Beverly D'Angelo as an actress in Rob's TV show; Christopher Walken as Annie's brother, Duane; and Sigourney Weaver , in her film debut, in the closing sequence as Alvy's date at the movie theater. Laurie Bird also appears, two years before her suicide. Technically, the film marked an advance for the director. He selected Gordon Willis as his cinematographer —for Allen "a very important teacher" and
2223-479: A man who "forgot [his] mantra " at Tony Lacey's Christmas party; Beverly D'Angelo as an actress in Rob's TV show; Christopher Walken as Annie's brother, Duane; and Sigourney Weaver , in her film debut, in the closing sequence as Alvy's date at the movie theater. Laurie Bird also appears, two years before her suicide. Technically, the film marked an advance for the director. He selected Gordon Willis as his cinematographer —for Allen "a very important teacher" and
2394-583: A new level of seriousness. Academics have noted the contrast in the settings of New York City and Los Angeles , the stereotype of gender differences in sexuality, the presentation of Jewish identity , and the elements of psychoanalysis and modernism . Annie Hall was screened at the Los Angeles Film Festival on March 27, 1977, before its official release in the United States on April 20, 1977. The film received widespread critical acclaim, and
2565-462: A pleasant encounter in the elevator with older neighbors, Paul and Lillian House. They are invited to an evening with the Houses where the women exchange information on exercise routines. The next day, Lillian dies of a heart attack, shocking the Liptons as she appeared robust and healthy. They become suspicious of Paul's cheerfulness after his wife's death. When Carol brings the widower a dessert, she finds
2736-600: A quantum leap for Woody Allen and remains an American classic." Metacritic gave the film a score of 92 out of 100 based on 20 critical reviews, indicating "universal acclaim". Sociologists Virginia Rutter and Pepper Schwartz consider Alvy and Annie's relationship to be a stereotype of gender differences in sexuality. The nature of love is a repeating subject for Allen and co-star Tony Roberts described this film as "the story of everybody who falls in love, and then falls out of love and goes on." Alvy searches for love's purpose through his effort to get over his depression about
2907-600: A quantum leap for Woody Allen and remains an American classic." Metacritic gave the film a score of 92 out of 100 based on 20 critical reviews, indicating "universal acclaim". Sociologists Virginia Rutter and Pepper Schwartz consider Alvy and Annie's relationship to be a stereotype of gender differences in sexuality. The nature of love is a repeating subject for Allen and co-star Tony Roberts described this film as "the story of everybody who falls in love, and then falls out of love and goes on." Alvy searches for love's purpose through his effort to get over his depression about
3078-429: A regular script I would have done that upon hiring Diane Keaton. But I couldn't [here] because it's a murder mystery , and it's very tightly plotted, so it's very hard to make big changes... I had written [the part] more to what Mia likes to do. Mia likes to do funny things, but she's not as broad a comedian as Diane is. So Diane made this part funnier than I wrote it. Making the film was a form of escape for Allen because
3249-438: A return via narrative desire to the repressed and the unconscious in a manner similar to psychoanalysis". He argues that the film constitutes a self-conscious assertion of how narrative desire and humor interact in the film to reform ideas and perceptions and that Allen's deployment of Freudian concepts and humor forms a "pattern of skepticism toward surface meaning that compels further interpretation". Girgus believes that proof of
3420-438: A return via narrative desire to the repressed and the unconscious in a manner similar to psychoanalysis". He argues that the film constitutes a self-conscious assertion of how narrative desire and humor interact in the film to reform ideas and perceptions and that Allen's deployment of Freudian concepts and humor forms a "pattern of skepticism toward surface meaning that compels further interpretation". Girgus believes that proof of
3591-462: A role written specifically for her. Principal photography for the film began on May 19, 1976, on the South Fork of Long Island , and continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer Gordon Willis , as "a major turning point", in that, unlike the farces and comedies that were his work to that point, it introduced
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#17328867332073762-497: A shot. It's very, very funny, and there's no mystery about that". Janet Maslin called it a "dated detective story" but also wrote, "it achieves a gentle, nostalgic grace and a hint of un-self-conscious wisdom". Desson Howe , in The Washington Post , complained that there was "little 'new'" in this film. Allen and Keaton are essentially playing Alvy Singer and Annie Hall gone middle-aged". Annie Hall Annie Hall
3933-400: A spider in her bathroom. A reconciliation follows, coupled with a vow to stay together, come what may. However, their separate discussions with their therapists make it evident there is an unspoken and unbridgeable divide. When Alvy accepts an offer to present an award on television, they travel to Los Angeles with Alvy's friend Rob. However, on the return trip, they agree that their relationship
4104-400: A spider in her bathroom. A reconciliation follows, coupled with a vow to stay together, come what may. However, their separate discussions with their therapists make it evident there is an unspoken and unbridgeable divide. When Alvy accepts an offer to present an award on television, they travel to Los Angeles with Alvy's friend Rob. However, on the return trip, they agree that their relationship
4275-525: A summation: Love is essential, especially if it is neurotic. Annie sings " Seems Like Old Times ," and the credits roll. Truman Capote has a cameo in the film. Alvy is making quips about people walking by. He says "There's the winner of the Truman Capote look-alike contest" as Truman Capote walks through the frame. Several actors who later gained a higher profile had small parts in the movie: John Glover as Annie's actor boyfriend, Jerry; Jeff Goldblum as
4446-469: A summation: Love is essential, especially if it is neurotic. Annie sings " Seems Like Old Times ," and the credits roll. Truman Capote has a cameo in the film. Alvy is making quips about people walking by. He says "There's the winner of the Truman Capote look-alike contest" as Truman Capote walks through the frame. Several actors who later gained a higher profile had small parts in the movie: John Glover as Annie's actor boyfriend, Jerry; Jeff Goldblum as
4617-428: A third an obsession with proving himself and testing himself to find out what kind of character he had. Allen himself turned forty in 1975, and Brickman suggests that "advancing age" and "worries about death" had influenced Allen's philosophical, personal approach to complement his "commercial side". Allen made the conscious decision to "sacrifice some of the laughs for a story about human beings". He recognized that for
4788-428: A third an obsession with proving himself and testing himself to find out what kind of character he had. Allen himself turned forty in 1975, and Brickman suggests that "advancing age" and "worries about death" had influenced Allen's philosophical, personal approach to complement his "commercial side". Allen made the conscious decision to "sacrifice some of the laughs for a story about human beings". He recognized that for
4959-434: A yoyo." Yo-yo? Hardly. Annie Hall Annie Hall is a 1977 American satirical romantic comedy-drama film directed by Woody Allen from a screenplay written by Allen and Marshall Brickman , and produced by Allen's manager, Charles H. Joffe . The film stars Allen as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the eponymous female lead, played by Diane Keaton in
5130-442: Is "a wreck," while Annie relaxes with a joint . Soon, Annie admits she loves Alvy, while he buys her books on death and says that his feelings for her are more than just love. When Annie moves in with him, things become very tense. Eventually, Alvy finds her arm-in-arm with one of her college professors, and the two begin to argue about whether this is the "flexibility" they had discussed. They eventually break up, and he searches for
5301-442: Is "a wreck," while Annie relaxes with a joint . Soon, Annie admits she loves Alvy, while he buys her books on death and says that his feelings for her are more than just love. When Annie moves in with him, things become very tense. Eventually, Alvy finds her arm-in-arm with one of her college professors, and the two begin to argue about whether this is the "flexibility" they had discussed. They eventually break up, and he searches for
Manhattan Murder Mystery - Misplaced Pages Continue
5472-434: Is a 1977 American satirical romantic comedy-drama film directed by Woody Allen from a screenplay written by Allen and Marshall Brickman , and produced by Allen's manager, Charles H. Joffe . The film stars Allen as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the eponymous female lead, played by Diane Keaton in a role written specifically for her. Principal photography for
5643-537: Is a cost-saving device. Very little background music is heard in the film, a departure for Allen influenced by Ingmar Bergman. Diane Keaton performs twice in the jazz club: "It Had to be You" and "Seems Like Old Times" (the latter reprises in voiceover on the closing scene). The other exceptions include a boy's choir "Christmas Medley" played while the characters drive through Los Angeles, the Molto allegro from Mozart 's Jupiter Symphony (heard as Annie and Alvy drive through
5814-489: Is a cost-saving device. Very little background music is heard in the film, a departure for Allen influenced by Ingmar Bergman. Diane Keaton performs twice in the jazz club: "It Had to be You" and "Seems Like Old Times" (the latter reprises in voiceover on the closing scene). The other exceptions include a boy's choir "Christmas Medley" played while the characters drive through Los Angeles, the Molto allegro from Mozart 's Jupiter Symphony (heard as Annie and Alvy drive through
5985-418: Is autobiographical is almost invariably not," Allen said. "It's so exaggerated that it's virtually meaningless to the people upon whom these little nuances are based. People got it into their heads that Annie Hall was autobiographical, and I couldn't convince them it wasn't". Contrary to various interviewers and commentators, he says, Alvy is not the character that is closest to himself; he identified more with
6156-418: Is autobiographical is almost invariably not," Allen said. "It's so exaggerated that it's virtually meaningless to the people upon whom these little nuances are based. People got it into their heads that Annie Hall was autobiographical, and I couldn't convince them it wasn't". Contrary to various interviewers and commentators, he says, Alvy is not the character that is closest to himself; he identified more with
6327-731: Is by Allen's own confession his favorite block in the city. Peter Cowie argues that the film shows "a romanticized view" of the borough, with the camera "linger[ing] on the Upper East Side [... and where] the fear of crime does not trouble its characters." By contrast, California is presented less positively, and David Halle notes the obvious "invidious intellectual comparison" between New York City and Los Angeles. While Manhattan's movie theaters show classic and foreign films, Los Angeles theaters run less-prestigious fare such as The House of Exorcism and Messiah of Evil . Rob's demonstration of adding canned laughter to television demonstrates
6498-674: Is by Allen's own confession his favorite block in the city. Peter Cowie argues that the film shows "a romanticized view" of the borough, with the camera "linger[ing] on the Upper East Side [... and where] the fear of crime does not trouble its characters." By contrast, California is presented less positively, and David Halle notes the obvious "invidious intellectual comparison" between New York City and Los Angeles. While Manhattan's movie theaters show classic and foreign films, Los Angeles theaters run less-prestigious fare such as The House of Exorcism and Messiah of Evil . Rob's demonstration of adding canned laughter to television demonstrates
6669-461: Is doomed to failure." Annie Hall won four Oscars at the 50th Academy Awards on April 3, 1978, and was nominated for five (the Big Five ) in total. Producer Charles H. Joffe received the statue for Best Picture, Allen for Best Director and, with Brickman, for Best Original Screenplay , and Keaton for Best Actress . Allen was also nominated for Best Actor . Many had expected Star Wars to win
6840-411: Is doomed to failure." Annie Hall won four Oscars at the 50th Academy Awards on April 3, 1978, and was nominated for five (the Big Five ) in total. Producer Charles H. Joffe received the statue for Best Picture, Allen for Best Director and, with Brickman, for Best Original Screenplay , and Keaton for Best Actress . Allen was also nominated for Best Actor . Many had expected Star Wars to win
7011-448: Is identified with the stereotypical neurotic Jewish male, and the differences between Alvy and Annie are often related to the perceptions and realities of Jewish identity. Vincent Brook notes that "Alvy dines with the WASP -y Hall family and imagines that they must see him as a Hasidic Jew , complete with payot (ear locks) and a large black hat." Robert M. Seltzer and Norman J. Cohen highlight
Manhattan Murder Mystery - Misplaced Pages Continue
7182-402: Is identified with the stereotypical neurotic Jewish male, and the differences between Alvy and Annie are often related to the perceptions and realities of Jewish identity. Vincent Brook notes that "Alvy dines with the WASP -y Hall family and imagines that they must see him as a Hasidic Jew , complete with payot (ear locks) and a large black hat." Robert M. Seltzer and Norman J. Cohen highlight
7353-433: Is leveling with them. Bailey argues that Allen's devices in the film, including the subtitles which reveal Annie's and Alvy's thoughts "extend and reinforce Annie Hall ' s winsome ethos of plain-dealing and ingenuousness". He muses that the film is full of antimimetic emblems such as McLuhan's magical appearance which provide quirky humor and that the "disparity between mental projections of reality and actuality" drives
7524-433: Is leveling with them. Bailey argues that Allen's devices in the film, including the subtitles which reveal Annie's and Alvy's thoughts "extend and reinforce Annie Hall ' s winsome ethos of plain-dealing and ingenuousness". He muses that the film is full of antimimetic emblems such as McLuhan's magical appearance which provide quirky humor and that the "disparity between mental projections of reality and actuality" drives
7695-462: Is not working. After losing Annie to her record producer Tony Lacey, Alvy unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship, but he changes the ending: now she accepts. The last meeting between Annie and Alvy is a wistful coda on Manhattan 's Upper West Side after they have both moved on to someone new. Alvy's voice returns with
7866-411: Is not working. After losing Annie to her record producer Tony Lacey, Alvy unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship, but he changes the ending: now she accepts. The last meeting between Annie and Alvy is a wistful coda on Manhattan 's Upper West Side after they have both moved on to someone new. Alvy's voice returns with
8037-444: Is snooping, narrowly missing her hiding under the bed, but she manages to sneak out undetected. Paul later finds her reading glasses under the bed, but Carol pretends she lost them on the first visit, supposing the glasses were kicked under the bed. Appalled at his wife’s breaking and entering, Larry wants her to stop. Obsessed, Carol engages the cooperation of their more adventurous close friend, Ted, who becomes as obsessed as Carol with
8208-490: Is the greatest comic film of the twentieth century [...] because it acknowledges the irrepressible nihilism that lurks at the center of all comedy." The Japanese filmmaker Akira Kurosawa cited Annie Hall as one of his favorite films. On review aggregator Rotten Tomatoes , the film has a rating of 97% based on 128 reviews, with an average rating of 9.10/10. The site's critical consensus reads, "Filled with poignant performances and devastating humor, Annie Hall represents
8379-490: Is the greatest comic film of the twentieth century [...] because it acknowledges the irrepressible nihilism that lurks at the center of all comedy." The Japanese filmmaker Akira Kurosawa cited Annie Hall as one of his favorite films. On review aggregator Rotten Tomatoes , the film has a rating of 97% based on 128 reviews, with an average rating of 9.10/10. The site's critical consensus reads, "Filled with poignant performances and devastating humor, Annie Hall represents
8550-426: Is ultimately "irrational and crazy and absurd", but a necessity of life. Christopher Knight believes Alvy's quest upon meeting Annie is carnal, whereas hers is on an emotional note. Richard Brody of The New Yorker notes the film's "Eurocentric art-house self-awareness" and Alvy Singer's "psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions". Singer
8721-426: Is ultimately "irrational and crazy and absurd", but a necessity of life. Christopher Knight believes Alvy's quest upon meeting Annie is carnal, whereas hers is on an emotional note. Richard Brody of The New Yorker notes the film's "Eurocentric art-house self-awareness" and Alvy Singer's "psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions". Singer
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#17328867332078892-527: The Big Five Academy Awards , winning four: the Academy Award for Best Picture , two for Allen ( Best Director and, with Brickman, Best Original Screenplay ), and Best Actress for Keaton. The film additionally won four BAFTA Awards , including Best Film , Best Direction (for Allen), Best Screenplay (for both Allen and Brickman) and Best Actress in a Leading Role (for Keaton), in addition to
9063-675: The Golden Globe Award for Best Actress – Motion Picture Comedy or Musical (for Keaton). The film's box office receipts in the United States and Canada of $ 38,251,425 are fourth-best of Allen's works when not adjusted for inflation. Regarded among the greatest films ever made , it ranks 31st on AFI 's list of the 100 greatest films in American cinema , 4th on their list of the greatest comedy films and 28th on Bravo's "100 Funniest Movies". Film critic Roger Ebert called it "just about everyone's favorite Woody Allen movie". The film's screenplay
9234-564: The Golden Globe Award for Best Actress – Motion Picture Comedy or Musical (for Keaton). The film's box office receipts in the United States and Canada of $ 38,251,425 are fourth-best of Allen's works when not adjusted for inflation. Regarded among the greatest films ever made , it ranks 31st on AFI 's list of the 100 greatest films in American cinema , 4th on their list of the greatest comedy films and 28th on Bravo's "100 Funniest Movies". Film critic Roger Ebert called it "just about everyone's favorite Woody Allen movie". The film's screenplay
9405-464: The South Fork of Long Island with the scene in which Alvy and Annie boil live lobsters; filming continued periodically for the next ten months, and deviated frequently from the screenplay. There was nothing written about Alvy's childhood home lying under a roller coaster, but when Allen was scouting locations in Brooklyn with Willis and art director Mel Bourne, he "saw this roller-coaster, and ... saw
9576-413: The South Fork of Long Island with the scene in which Alvy and Annie boil live lobsters; filming continued periodically for the next ten months, and deviated frequently from the screenplay. There was nothing written about Alvy's childhood home lying under a roller coaster, but when Allen was scouting locations in Brooklyn with Willis and art director Mel Bourne, he "saw this roller-coaster, and ... saw
9747-405: The "100 Greatest Performances of All Time", and noted: It's hard to play ditzy. ... The genius of Annie is that despite her loopy backhand, awful driving, and nervous tics, she's also a complicated, intelligent woman. Keaton brilliantly displays this dichotomy of her character, especially when she yammers away on a first date with Alvy (Woody Allen), while the subtitle reads, "He probably thinks I'm
9918-405: The "100 Greatest Performances of All Time", and noted: It's hard to play ditzy. ... The genius of Annie is that despite her loopy backhand, awful driving, and nervous tics, she's also a complicated, intelligent woman. Keaton brilliantly displays this dichotomy of her character, especially when she yammers away on a first date with Alvy (Woody Allen), while the subtitle reads, "He probably thinks I'm
10089-446: The "cynical artifice of the medium". New York City serves as a symbol of Alvy's personality ("gloomy, claustrophobic, and socially cold, but also an intellectual haven full of nervous energy") while Los Angeles is a symbol of freedom for Annie. Annie Hall has been cited as a film which uses both therapy and analysis for comic effect. Sam B. Girgus considers Annie Hall to be a story about memory and retrospection, which "dramatizes
10260-446: The "cynical artifice of the medium". New York City serves as a symbol of Alvy's personality ("gloomy, claustrophobic, and socially cold, but also an intellectual haven full of nervous energy") while Los Angeles is a symbol of freedom for Annie. Annie Hall has been cited as a film which uses both therapy and analysis for comic effect. Sam B. Girgus considers Annie Hall to be a story about memory and retrospection, which "dramatizes
10431-485: The "past year was so exhausting that I wanted to just indulge myself in something I could relax and enjoy". He also found it very therapeutic working with Keaton again. After getting over her initial panic in her first scene with Alan Alda, Keaton and Allen slipped back into their old rhythm. After she had trouble with that scene, Allen decided to re-shoot it. In the meantime, she worked with her acting coach and did other scenes that went well. According to Allen, Keaton changed
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#173288673320710602-566: The Money and Run , since the former is more "humane" while the latter is more a "cartoon". Several critics have compared the film favorably to Bergman's Scenes from a Marriage (1973), including Joseph McBride in Variety , who found it Allen's "most three-dimensional film to date" with an ambition equal to Bergman's best even as the co-stars become the "contemporary equivalent of ... Tracy - Hepburn ." More critically, Peter Cowie commented that
10773-470: The Money and Run , since the former is more "humane" while the latter is more a "cartoon". Several critics have compared the film favorably to Bergman's Scenes from a Marriage (1973), including Joseph McBride in Variety , who found it Allen's "most three-dimensional film to date" with an ambition equal to Bergman's best even as the co-stars become the "contemporary equivalent of ... Tracy - Hepburn ." More critically, Peter Cowie commented that
10944-618: The United Kingdom. It was first released on Blu-ray on January 24, 2012, alongside Allen's film Manhattan (1979). Both releases include their original theatrical trailers. Annie Hall met with widespread critical acclaim upon its release, with major praise directed towards the film's script and the performances of Allen and Keaton. Tim Radford of The Guardian called the film "Allen's most closely focused and daring film to date". The New York Times ' Vincent Canby preferred Annie Hall to Allen's second directorial effort, Take
11115-561: The United Kingdom. It was first released on Blu-ray on January 24, 2012, alongside Allen's film Manhattan (1979). Both releases include their original theatrical trailers. Annie Hall met with widespread critical acclaim upon its release, with major praise directed towards the film's script and the performances of Allen and Keaton. Tim Radford of The Guardian called the film "Allen's most closely focused and daring film to date". The New York Times ' Vincent Canby preferred Annie Hall to Allen's second directorial effort, Take
11286-548: The United States and Canada against a $ 4-million budget, making it the 11th highest-grossing picture of 1977. On raw figures, it currently ranks as Allen's fourth-highest-grossing film in the United States, after Manhattan , Hannah and Her Sisters and Midnight in Paris ; when adjusted for inflation, the gross figure makes it Allen's biggest box office hit. It played for over 100 consecutive weeks in London and grossed over $ 5.6 million in
11457-451: The United States and Canada against a $ 4-million budget, making it the 11th highest-grossing picture of 1977. On raw figures, it currently ranks as Allen's fourth-highest-grossing film in the United States, after Manhattan , Hannah and Her Sisters and Midnight in Paris ; when adjusted for inflation, the gross figure makes it Allen's biggest box office hit. It played for over 100 consecutive weeks in London and grossed over $ 5.6 million in
11628-451: The United States' Library of Congress selected the film for preservation in its National Film Registry that includes "culturally, historically, or aesthetically significant" films. The film is often mentioned among the greatest comedies of all time. The American Film Institute lists it 31st in American cinema history. In 2000, they named it second greatest romantic comedy in American cinema. Keaton's performance of "Seems Like Old Times"
11799-451: The United States' Library of Congress selected the film for preservation in its National Film Registry that includes "culturally, historically, or aesthetically significant" films. The film is often mentioned among the greatest comedies of all time. The American Film Institute lists it 31st in American cinema history. In 2000, they named it second greatest romantic comedy in American cinema. Keaton's performance of "Seems Like Old Times"
11970-521: The audience the characters' nervous inner doubts. An animated scene—with artwork based on the comic strip Inside Woody Allen —depicts Alvy and Annie in the guise of the Wicked Queen from Snow White . Although Allen uses each of these techniques only once, the " fourth wall " is broken several other times when characters address the camera directly. In one, Alvy stops several passers-by to ask questions about love, and in another, he shrugs off writing
12141-466: The audience the characters' nervous inner doubts. An animated scene—with artwork based on the comic strip Inside Woody Allen —depicts Alvy and Annie in the guise of the Wicked Queen from Snow White . Although Allen uses each of these techniques only once, the " fourth wall " is broken several other times when characters address the camera directly. In one, Alvy stops several passers-by to ask questions about love, and in another, he shrugs off writing
12312-411: The audience's interpretative favor." He suggests that because Allen's films blur the protagonist with "past and future protagonists as well as with the director himself", it "makes a difference as to whether we are most responsive to the director's or the character's framing of events". Despite the narrative's framing, "the joke is on Alvy." Emanuel Levy believes that Alvy Singer became synonymous with
12483-411: The audience's interpretative favor." He suggests that because Allen's films blur the protagonist with "past and future protagonists as well as with the director himself", it "makes a difference as to whether we are most responsive to the director's or the character's framing of events". Despite the narrative's framing, "the joke is on Alvy." Emanuel Levy believes that Alvy Singer became synonymous with
12654-458: The blackboard in a school scene, and "Alvy" was one of Allen's childhood nicknames; certain features of his childhood are found in Alvy Singer's; Allen went to New York University and so did Alvy. Diane Keaton's real surname is "Hall" and "Annie" was her nickname, and she and Allen were once romantically involved. However, Allen is quick to dispel these suggestions. "The stuff that people insist
12825-404: The blackboard in a school scene, and "Alvy" was one of Allen's childhood nicknames; certain features of his childhood are found in Alvy Singer's; Allen went to New York University and so did Alvy. Diane Keaton's real surname is "Hall" and "Annie" was her nickname, and she and Allen were once romantically involved. However, Allen is quick to dispel these suggestions. "The stuff that people insist
12996-438: The body. Carol surmises that Paul was hiding in the closet when they found the body and then moved the body. Later, Carol and Larry find Lillian's body in the emergency exit panel of the elevator. They see Paul putting the body in a car and witness him disposing of the body by dropping it into an industrial melting furnace. Marcia Fox, an author that Larry publishes, is drawn into the amateur investigation when Larry sets her up on
13167-458: The cameo. Some cast members, biographer John Baxter claims, were aggrieved at Allen's treatment of them. The director "acted coldly" towards McLuhan, who had to return from Canada for reshooting, and Mordecai Lawner , who played Alvy's father, claimed that Allen never spoke to him. However, during the production, Allen began a two-year relationship with Stacey Nelkin , who appears in a single scene. Principal photography began on May 19, 1976, on
13338-458: The cameo. Some cast members, biographer John Baxter claims, were aggrieved at Allen's treatment of them. The director "acted coldly" towards McLuhan, who had to return from Canada for reshooting, and Mordecai Lawner , who played Alvy's father, claimed that Allen never spoke to him. However, during the production, Allen began a two-year relationship with Stacey Nelkin , who appears in a single scene. Principal photography began on May 19, 1976, on
13509-561: The camera, or launch into inspired monologues like Annie's free-association as she describes her family to Alvy. This speech by Diane Keaton is as close to perfect as such a speech can likely be ... all done in one take of brilliant brinksmanship." He cites a study that calculated the average shot length of Annie Hall to be 14.5 seconds, while other films made in 1977 had an average shot length of 4–7 seconds. Peter Cowie suggests that "Allen breaks up his extended shots with more orthodox cutting back and forth in conversation pieces so that
13680-561: The camera, or launch into inspired monologues like Annie's free-association as she describes her family to Alvy. This speech by Diane Keaton is as close to perfect as such a speech can likely be ... all done in one take of brilliant brinksmanship." He cites a study that calculated the average shot length of Annie Hall to be 14.5 seconds, while other films made in 1977 had an average shot length of 4–7 seconds. Peter Cowie suggests that "Allen breaks up his extended shots with more orthodox cutting back and forth in conversation pieces so that
13851-466: The camera, which immediately intrudes upon audience involvement in the film. In one scene, Allen's character, in line to see a movie with Annie, listens to a man behind him deliver misinformed pontifications on the significance of Fellini's and Marshall McLuhan's work. Allen pulls McLuhan himself from just off-camera to correct the man's errors personally. Later in the film, when we see Annie and Alvy in their first extended talk, "mental subtitles" convey to
14022-466: The camera, which immediately intrudes upon audience involvement in the film. In one scene, Allen's character, in line to see a movie with Annie, listens to a man behind him deliver misinformed pontifications on the significance of Fellini's and Marshall McLuhan's work. Allen pulls McLuhan himself from just off-camera to correct the man's errors personally. Later in the film, when we see Annie and Alvy in their first extended talk, "mental subtitles" convey to
14193-538: The character an "affable version" of herself—both were "semi-articulate, dreamed of being a singer and suffered from insecurity"—and was surprised to win an Oscar for her performance. The film also marks the second film collaboration between Allen and Tony Roberts, their previous project being Play It Again, Sam . Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion, but Allen chose cultural academic Marshall McLuhan after both Fellini and Luis Buñuel declined
14364-538: The character an "affable version" of herself—both were "semi-articulate, dreamed of being a singer and suffered from insecurity"—and was surprised to win an Oscar for her performance. The film also marks the second film collaboration between Allen and Tony Roberts, their previous project being Play It Again, Sam . Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion, but Allen chose cultural academic Marshall McLuhan after both Fellini and Luis Buñuel declined
14535-439: The collaboration on several later films, including Zelig , which earned Willis his first Academy Award nomination for Best Cinematography . Willis described the production for the film as "relatively easy." He shot in varying styles; "hot golden light for California , grey overcast for Manhattan and a forties Hollywood glossy for ... dream sequences," most of which were cut. It was his suggestion which led Allen to film
14706-439: The collaboration on several later films, including Zelig , which earned Willis his first Academy Award nomination for Best Cinematography . Willis described the production for the film as "relatively easy." He shot in varying styles; "hot golden light for California , grey overcast for Manhattan and a forties Hollywood glossy for ... dream sequences," most of which were cut. It was his suggestion which led Allen to film
14877-470: The countryside), Tommy Dorsey 's performance of "Sleepy Lagoon", and the anodyne cover of the Savoy Brown song "A Hard Way to Go" playing at a party in the mansion of Paul Simon's character. Annie Hall was shown at the Los Angeles Film Festival on March 27, 1977, before its official release in the United States on April 20, 1977. The film ultimately earned $ 38,251,425 ($ 192 million in 2023 dollars) in
15048-417: The countryside), Tommy Dorsey 's performance of "Sleepy Lagoon", and the anodyne cover of the Savoy Brown song "A Hard Way to Go" playing at a party in the mansion of Paul Simon's character. Annie Hall was shown at the Los Angeles Film Festival on March 27, 1977, before its official release in the United States on April 20, 1977. The film ultimately earned $ 38,251,425 ($ 192 million in 2023 dollars) in
15219-400: The demise of his relationship with Annie. Sometimes he sifts through his memories of the relationship, at another point he stops people on the sidewalk, with one woman saying that "It's never something you do. That's how people are. Love fades," a suggestion that it was no one's fault, they just grew apart and the end was inevitable. By the end of the film, Alvy accepts this and decides that love
15390-400: The demise of his relationship with Annie. Sometimes he sifts through his memories of the relationship, at another point he stops people on the sidewalk, with one woman saying that "It's never something you do. That's how people are. Love fades," a suggestion that it was no one's fault, they just grew apart and the end was inevitable. By the end of the film, Alvy accepts this and decides that love
15561-441: The dramatic spine, and began reworking the film "in the direction of that relationship." Rosenblum recalled that Allen "had no hesitation about trimming away much of the first twenty minutes in order to establish Keaton more quickly." According to Allen, "I didn't sit down with Marshall Brickman and say, 'We're going to write a picture about a relationship.' I mean the whole concept of the picture changed as we were cutting it." As
15732-441: The dramatic spine, and began reworking the film "in the direction of that relationship." Rosenblum recalled that Allen "had no hesitation about trimming away much of the first twenty minutes in order to establish Keaton more quickly." According to Allen, "I didn't sit down with Marshall Brickman and say, 'We're going to write a picture about a relationship.' I mean the whole concept of the picture changed as we were cutting it." As
15903-417: The dual therapy scenes in one set divided by a wall instead of the usual split screen method. He tried long takes, with some shots, unabridged, lasting an entire scene, which, for Ebert, add to the dramatic power of the film: "Few viewers probably notice how much of Annie Hall consists of people talking, simply talking. They walk and talk, sit and talk, go to shrinks, go to lunch, make love and talk, talk to
16074-417: The dual therapy scenes in one set divided by a wall instead of the usual split screen method. He tried long takes, with some shots, unabridged, lasting an entire scene, which, for Ebert, add to the dramatic power of the film: "Few viewers probably notice how much of Annie Hall consists of people talking, simply talking. They walk and talk, sit and talk, go to shrinks, go to lunch, make love and talk, talk to
16245-567: The dynamic of the film because he "always look(s) sober and normal compared to Keaton. I turn into the straight man". Huston said that the set was "oddly free of anxiety, introspection and pain", and this was due to Keaton's presence. The film was shot in the fall of 1992 on the streets of Greenwich Village , the Upper East Side and the Upper West Side . Allen had cinematographer Carlo Di Palma rely on hand-held cameras , "swiveling restlessly from one room to another, or zooming in abruptly for
16416-559: The early drafts did not survive. It was originally a drama centered on a murder mystery with a comic and romantic subplot. According to Allen, the murder occurred after a scene that remains in the film, the sequence in which Annie and Alvy miss the Ingmar Bergman film Face to Face (1976). Although they decided to drop the murder plot, Allen and Brickman made a murder mystery many years later: Manhattan Murder Mystery (1993), also starring Diane Keaton. The draft that Allen presented to
16587-502: The early drafts did not survive. It was originally a drama centered on a murder mystery with a comic and romantic subplot. According to Allen, the murder occurred after a scene that remains in the film, the sequence in which Annie and Alvy miss the Ingmar Bergman film Face to Face (1976). Although they decided to drop the murder plot, Allen and Brickman made a murder mystery many years later: Manhattan Murder Mystery (1993), also starring Diane Keaton. The draft that Allen presented to
16758-476: The emptiness of existence, but he was precocious about his innocent sexual curiosity, suddenly kissing a classmate at six years old and not understanding why she was not keen to reciprocate. Annie and Alvy, waiting in a cinema queue to see The Sorrow and the Pity , overhear another man deriding the work of Federico Fellini and Marshall McLuhan . Alvy imagines McLuhan himself stepping in at his invitation to criticize
16929-429: The emptiness of existence, but he was precocious about his innocent sexual curiosity, suddenly kissing a classmate at six years old and not understanding why she was not keen to reciprocate. Annie and Alvy, waiting in a cinema queue to see The Sorrow and the Pity , overhear another man deriding the work of Federico Fellini and Marshall McLuhan . Alvy imagines McLuhan himself stepping in at his invitation to criticize
17100-438: The end when he suggests putting him in a mental institution, to be a paradox of not only the persona of the urban neurotic Jew but also of the film itself. Christopher Knight points out that Annie Hall is framed through Alvy's experiences. "Generally, what we know about Annie and about the relationship comes filtered through Alvy, an intrusive narrator capable of halting the narrative and stepping out from it in order to entreat
17271-438: The end when he suggests putting him in a mental institution, to be a paradox of not only the persona of the urban neurotic Jew but also of the film itself. Christopher Knight points out that Annie Hall is framed through Alvy's experiences. "Generally, what we know about Annie and about the relationship comes filtered through Alvy, an intrusive narrator capable of halting the narrative and stepping out from it in order to entreat
17442-453: The film "suffers from its profusion of cultural references and asides ". Writing for New York magazine, John Simon called the film "unfunny comedy, poor moviemaking, and embarrassing self-revelation," and wrote that Keaton's performance was "in bad taste to watch and indecency to display," saying that the part should have been played by Robin Mary Paris, the actress who appears briefly in
17613-400: The film "suffers from its profusion of cultural references and asides ". Writing for New York magazine, John Simon called the film "unfunny comedy, poor moviemaking, and embarrassing self-revelation," and wrote that Keaton's performance was "in bad taste to watch and indecency to display," saying that the part should have been played by Robin Mary Paris, the actress who appears briefly in
17784-410: The film began on May 19, 1976, on the South Fork of Long Island , and continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer Gordon Willis , as "a major turning point", in that, unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Academics have noted the contrast in
17955-475: The film had "an instant familiarity" despite its age, and Slant writer Jaime N. Christley found the one-liners "still gut-busting after 35 years". A later Guardian critic, Peter Bradshaw , named it the best comedy film of all time, commenting that "this wonderfully funny, unbearably sad film is a miracle of comic writing and inspired film-making". John Marriott of the Radio Times believed that Annie Hall
18126-423: The film had "an instant familiarity" despite its age, and Slant writer Jaime N. Christley found the one-liners "still gut-busting after 35 years". A later Guardian critic, Peter Bradshaw , named it the best comedy film of all time, commenting that "this wonderfully funny, unbearably sad film is a miracle of comic writing and inspired film-making". John Marriott of the Radio Times believed that Annie Hall
18297-430: The film in 1976 left Brickman disappointed. "I felt that the film was running off in nine different directions," Brickman recalled. "It was like a first draft of a novel... from which two or three films could possibly be assembled." Rosenblum characterized the first cut, at two hours and twenty minutes, as "the surrealistic and abstract adventures of a neurotic Jewish comedian who was reliving his highly flawed life and in
18468-430: The film in 1976 left Brickman disappointed. "I felt that the film was running off in nine different directions," Brickman recalled. "It was like a first draft of a novel... from which two or three films could possibly be assembled." Rosenblum characterized the first cut, at two hours and twenty minutes, as "the surrealistic and abstract adventures of a neurotic Jewish comedian who was reliving his highly flawed life and in
18639-402: The film was budgeted for two weeks of post-production photography, late 1976 saw three separate shoots for the final segment, but only some of this material was used. The narration that ends the film, featuring the joke about 'we all need the eggs', was conceived and recorded only two hours before a test screening. The credits call the film "A Jack Rollins and Charles H. Joffe Production";
18810-402: The film was budgeted for two weeks of post-production photography, late 1976 saw three separate shoots for the final segment, but only some of this material was used. The narration that ends the film, featuring the joke about 'we all need the eggs', was conceived and recorded only two hours before a test screening. The credits call the film "A Jack Rollins and Charles H. Joffe Production";
18981-584: The film was voted by the Guardian readers as the second best film directed by Woody Allen. In November 2015, the film was named the funniest screenplay by the Writers Guild of America in its list of 101 Funniest Screenplays . The film is recognized by American Film Institute in these lists: 1992 – National Film Registry . In 2006, Premiere magazine ranked Keaton in Annie Hall as 60th in its list of
19152-427: The film was voted by the Guardian readers as the second best film directed by Woody Allen. In November 2015, the film was named the funniest screenplay by the Writers Guild of America in its list of 101 Funniest Screenplays . The film is recognized by American Film Institute in these lists: 1992 – National Film Registry . In 2006, Premiere magazine ranked Keaton in Annie Hall as 60th in its list of
19323-411: The film's editor, Ralph Rosenblum , concluded with the words, "ending to be shot." Allen suggested Anhedonia , a term for the inability to experience pleasure, as a working title, and Brickman suggested alternatives including It Had to Be Jew , Rollercoaster Named Desire and Me and My Goy . An advertising agency, hired by United Artists, embraced Allen's choice of an obscure word by suggesting
19494-411: The film's editor, Ralph Rosenblum , concluded with the words, "ending to be shot." Allen suggested Anhedonia , a term for the inability to experience pleasure, as a working title, and Brickman suggested alternatives including It Had to Be Jew , Rollercoaster Named Desire and Me and My Goy . An advertising agency, hired by United Artists, embraced Allen's choice of an obscure word by suggesting
19665-500: The film. His view is that self-reflective cinematic devices intelligently dramatize the difference between surface and substance, with visual emblems "incessantly distilling the distinction between the world mentally constructed and reality". In his discussion of the film's relation to modernism , Thomas Schatz finds the film an unresolved "examination of the process of human interaction and interpersonal communication" and "immediately establishes [a] self-referential stance" that invites
19836-500: The film. His view is that self-reflective cinematic devices intelligently dramatize the difference between surface and substance, with visual emblems "incessantly distilling the distinction between the world mentally constructed and reality". In his discussion of the film's relation to modernism , Thomas Schatz finds the film an unresolved "examination of the process of human interaction and interpersonal communication" and "immediately establishes [a] self-referential stance" that invites
20007-512: The first time he had the courage to abandon the safety of complete broad comedy and had the will to produce a film of deeper meaning which would be a nourishing experience for the audience. He was also influenced by Federico Fellini's comedy drama 8½ (1963), created at a similar personal turning point, and similarly colored by each director's psychoanalysis . Brickman and Allen sent the screenplay back and forth until they were ready to ask United Artists for $ 4 million. Many elements from
20178-512: The first time he had the courage to abandon the safety of complete broad comedy and had the will to produce a film of deeper meaning which would be a nourishing experience for the audience. He was also influenced by Federico Fellini's comedy drama 8½ (1963), created at a similar personal turning point, and similarly colored by each director's psychoanalysis . Brickman and Allen sent the screenplay back and forth until they were ready to ask United Artists for $ 4 million. Many elements from
20349-448: The forward momentum of the film is sustained." Bernd Herzogenrath notes the innovation in the use of the split-screen during the dinner scene to powerfully exaggerate the contrast between the Jewish and the gentile family. Although the film is not essentially experimental, at several points it undermines the narrative reality. James Bernardoni notes Allen's way of opening the film by facing
20520-399: The forward momentum of the film is sustained." Bernd Herzogenrath notes the innovation in the use of the split-screen during the dinner scene to powerfully exaggerate the contrast between the Jewish and the gentile family. Although the film is not essentially experimental, at several points it undermines the narrative reality. James Bernardoni notes Allen's way of opening the film by facing
20691-437: The house under it. And I thought, we have to use this." Similarly, there is the incident where Alvy scatters a trove of cocaine with an accidental sneeze: although not in the script, the joke emerged from a rehearsal happenstance and stayed in the movie. In audience testing, this laugh was so sustained that a much longer pause had to be added so that the following dialogue was not lost. Editor Ralph Rosenblum's first assembly of
20862-437: The house under it. And I thought, we have to use this." Similarly, there is the incident where Alvy scatters a trove of cocaine with an accidental sneeze: although not in the script, the joke emerged from a rehearsal happenstance and stayed in the movie. In audience testing, this laugh was so sustained that a much longer pause had to be added so that the following dialogue was not lost. Editor Ralph Rosenblum's first assembly of
21033-688: The major awards, including Brickman and executive producer Robert Greenhut . The film was also honored five times at the BAFTA awards. Along with the top award for Best Film and the award for Best Editing , Keaton won for Best Actress , Allen won for Best Direction and Best Original Screenplay alongside Brickman. The film received one Golden Globe Award , for Best Actress – Motion Picture Comedy or Musical (Keaton), in addition to four nominations: Best Motion Picture – Musical or Comedy , Best Director , Best Screenplay and Best Actor – Motion Picture Musical or Comedy (the latter three for Allen). In 1992,
21204-640: The major awards, including Brickman and executive producer Robert Greenhut . The film was also honored five times at the BAFTA awards. Along with the top award for Best Film and the award for Best Editing , Keaton won for Best Actress , Allen won for Best Direction and Best Original Screenplay alongside Brickman. The film received one Golden Globe Award , for Best Actress – Motion Picture Comedy or Musical (Keaton), in addition to four nominations: Best Motion Picture – Musical or Comedy , Best Director , Best Screenplay and Best Actor – Motion Picture Musical or Comedy (the latter three for Allen). In 1992,
21375-403: The man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife, whom he kept at a distance for no good reason. His second marriage was to a New York writer who did not share his enthusiasm for sports and was unable to reach orgasm. With Annie, it is different. The two of them have fun cooking a meal of boiled lobster together. He teases her about
21546-403: The man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife, whom he kept at a distance for no good reason. His second marriage was to a New York writer who did not share his enthusiasm for sports and was unable to reach orgasm. With Annie, it is different. The two of them have fun cooking a meal of boiled lobster together. He teases her about
21717-402: The material in the early 1990s. He contacted Marshall Brickman , who co-wrote Annie Hall , and they developed the story further. The role of Carol was originally written for Mia Farrow , but the part was recast when she and Allen ended their relationship and became embroiled in a custody battle over their three children. Allegations in the media claimed that changes were made to the film in what
21888-400: The mother (Eve, played by Geraldine Page ) in his next film, Interiors . Despite this, Keaton has stated that the relationship between Alvy and Annie was partly based on her relationship with the director. The role of Annie Hall was written specifically for Keaton, who had worked with Allen on Play It Again, Sam (1972), Sleeper (1973) and Love and Death (1975). She considered
22059-400: The mother (Eve, played by Geraldine Page ) in his next film, Interiors . Despite this, Keaton has stated that the relationship between Alvy and Annie was partly based on her relationship with the director. The role of Annie Hall was written specifically for Keaton, who had worked with Allen on Play It Again, Sam (1972), Sleeper (1973) and Love and Death (1975). She considered
22230-425: The mystery. Carol and Ted track down Helen Moss, an actress, whom they surveil. A few days later, Carol spots a woman who looks identical to Lillian on a passing bus. Larry suggests she has a twin, but Ted finds out Lillian has none. Ted and Carol follow the bus route to the end, discovering a shabby Hotel Waldron. Returning later, Carol and Larry find Lillian dead in the bedroom. The responding police find no trace of
22401-501: The pervasiveness of Sigmund Freud in the film is demonstrated at the beginning through a reference to a joke in Jokes and Their Relation to the Unconscious , and makes another joke about a psychiatrist and patient, which Girgus argues is also symbolic of the dynamic between humor and the unconscious in the film. Further Freudian concepts are later addressed in the film with Annie's recall of
22572-401: The pervasiveness of Sigmund Freud in the film is demonstrated at the beginning through a reference to a joke in Jokes and Their Relation to the Unconscious , and makes another joke about a psychiatrist and patient, which Girgus argues is also symbolic of the dynamic between humor and the unconscious in the film. Further Freudian concepts are later addressed in the film with Annie's recall of
22743-445: The police. Marcia's theory is proven correct; and Larry and Carol and Ted and Marcia pair off and enjoy separate celebratory dinners. Allen started Manhattan Murder Mystery as an early draft of Annie Hall , but he did not feel that it was substantial enough, and he decided to go in a different direction. He put off making the film for years because he felt it was too lightweight, "like an airplane book read". Allen decided to revisit
22914-425: The process satirizing much of our culture... a visual monologue, a more sophisticated and more philosophical version of Take the Money and Run ". Brickman found it "nondramatic and ultimately uninteresting, a kind of cerebral exercise." He suggested a more linear narrative. The present-tense relationship between Alvy and Annie was not the narrative focus of this first cut, but Allen and Rosenblum recognized it as
23085-425: The process satirizing much of our culture... a visual monologue, a more sophisticated and more philosophical version of Take the Money and Run ". Brickman found it "nondramatic and ultimately uninteresting, a kind of cerebral exercise." He suggested a more linear narrative. The present-tense relationship between Alvy and Annie was not the narrative focus of this first cut, but Allen and Rosenblum recognized it as
23256-425: The project frequently, sometimes becoming frustrated and rejecting the idea. Allen wrote a first draft of a screenplay within a four-day period, sending it to Brickman to make alterations. According to Brickman, this draft centered on a man in his forties, someone whose life consisted "of several strands." One was a relationship with a young woman, another was a concern with the banality of the life that we all live, and
23427-425: The project frequently, sometimes becoming frustrated and rejecting the idea. Allen wrote a first draft of a screenplay within a four-day period, sending it to Brickman to make alterations. According to Brickman, this draft centered on a man in his forties, someone whose life consisted "of several strands." One was a relationship with a young woman, another was a concern with the banality of the life that we all live, and
23598-533: The public perception of Woody Allen in the United States. Annie Hall is viewed as the definitive Woody Allen film in displaying neurotic humor. Annie Hall "is as much a love song to New York City as it is to the character," reflecting Allen's adoration of the island of Manhattan . It was a relationship he explored repeatedly, particularly in films like Manhattan (1979) and Hannah and Her Sisters (1986). Annie Hall's apartment, which still exists on East 70th Street between Lexington Avenue and Park Avenue
23769-533: The public perception of Woody Allen in the United States. Annie Hall is viewed as the definitive Woody Allen film in displaying neurotic humor. Annie Hall "is as much a love song to New York City as it is to the character," reflecting Allen's adoration of the island of Manhattan . It was a relationship he explored repeatedly, particularly in films like Manhattan (1979) and Hannah and Her Sisters (1986). Annie Hall's apartment, which still exists on East 70th Street between Lexington Avenue and Park Avenue
23940-473: The recorded script, they create a phone call from Helen to Paul warning that she has been shown Lillian’s unincinerated body by blackmailers who want $ 200,000 to give up the body. Using five recorders with different combinations of phrases, they respond reasonably well to Paul’s anticipated questions to “Helen”, cutting the conversation short by saying, “I have to hang up.” The plan backfires when Paul kidnaps Carol and demands Lillian's body in exchange for her. At
24111-475: The run-down second-run movie theater Paul owns, where Carol is being held, Larry dodges Paul’s bullets in a film noir chase parody echoing the in-process showing of Orson Welles 's The Lady from Shanghai during a similar shootout-in-a-room-full-of-mirrors sequence in the film. Mrs. Dalton, Paul's erstwhile loyal assistant and jealous spurned aging former lover, shoots Paul with a bitter reference to being used and discarded. Larry rescues Carol, and they call
24282-461: The scene in which Annie remarks that Annie's grandmother "hates Jews. She thinks they just make money, but she's the one. Is she ever, I'm telling you.", revealing the hypocrisy in her grandmother's stereotypical American view of Jews by arguing that "no stigma attaches to the love of money in America". Bernd Herzogenrath also considers Allen's joke, "I would like to but we need the eggs", to the doctor at
24453-411: The scene in which Annie remarks that Annie's grandmother "hates Jews. She thinks they just make money, but she's the one. Is she ever, I'm telling you.", revealing the hypocrisy in her grandmother's stereotypical American view of Jews by arguing that "no stigma attaches to the love of money in America". Bernd Herzogenrath also considers Allen's joke, "I would like to but we need the eggs", to the doctor at
24624-417: The scene where Alvy Singer has written a two-character play nakedly based on himself and Annie Hall. Simon's review of Annie Hall "It is a film so shapeless, sprawling, repetitious, and aimless as to seem to beg for oblivion. At this, it is successful." The film has continued to receive positive reviews. In his 2002 lookback, Roger Ebert added it to his Great Movies list and commented with surprise that
24795-417: The scene where Alvy Singer has written a two-character play nakedly based on himself and Annie Hall. Simon's review of Annie Hall "It is a film so shapeless, sprawling, repetitious, and aimless as to seem to beg for oblivion. At this, it is successful." The film has continued to receive positive reviews. In his 2002 lookback, Roger Ebert added it to his Great Movies list and commented with surprise that
24966-413: The settings of New York City and Los Angeles , the stereotype of gender differences in sexuality, the presentation of Jewish identity , and the elements of psychoanalysis and modernism . Annie Hall was screened at the Los Angeles Film Festival on March 27, 1977, before its official release in the United States on April 20, 1977. The film received widespread critical acclaim, and was nominated for
25137-455: The seventh greatest romantic comedy film of all time. Several lists ranking Allen's best films have put Annie Hall among his greatest work. In June 2008, AFI revealed its 10 Top 10 —the best ten films in ten classic American film genres—after polling over 1,500 people from the creative community and Annie Hall was placed second in the romantic comedy genre. AFI also ranked Annie Hall on several other lists. In November 2008, Annie Hall
25308-455: The seventh greatest romantic comedy film of all time. Several lists ranking Allen's best films have put Annie Hall among his greatest work. In June 2008, AFI revealed its 10 Top 10 —the best ten films in ten classic American film genres—after polling over 1,500 people from the creative community and Annie Hall was placed second in the romantic comedy genre. AFI also ranked Annie Hall on several other lists. In November 2008, Annie Hall
25479-401: The spectator "to read the narrative as something other than a sequential development toward some transcendent truth". For him, Alvy "is the victim of a tendency toward overdetermination of meaning – or in modernist terms 'the tyranny of the signified' – and his involvement with Annie can be viewed as an attempt to establish a spontaneous, intellectually unencumbered relationship, an attempt which
25650-401: The spectator "to read the narrative as something other than a sequential development toward some transcendent truth". For him, Alvy "is the victim of a tendency toward overdetermination of meaning – or in modernist terms 'the tyranny of the signified' – and his involvement with Annie can be viewed as an attempt to establish a spontaneous, intellectually unencumbered relationship, an attempt which
25821-443: The studio take out newspaper advertisements that looked like fake tabloid headlines such as "Anhedonia Strikes Cleveland!". However, Allen experimented with several titles over five test screenings, including Anxiety and Annie and Alvy , before settling on Annie Hall . Several references in the film to Allen's own life have invited speculation that it is autobiographical. Both Alvy and Allen were comedians. His birthday appears on
25992-443: The studio take out newspaper advertisements that looked like fake tabloid headlines such as "Anhedonia Strikes Cleveland!". However, Allen experimented with several titles over five test screenings, including Anxiety and Annie and Alvy , before settling on Annie Hall . Several references in the film to Allen's own life have invited speculation that it is autobiographical. Both Alvy and Allen were comedians. His birthday appears on
26163-468: The terror in my eyes.” Manhattan Murder Mystery opened on August 18, 1993, in 268 theaters and made USD $ 2 million in its opening weekend. It went on to gross $ 11.3 million in North America, below its estimated $ 13.5 million budget. Its £1,920,825 in box office made it the number-one film in the United Kingdom for the weekend ending January 23, 1994 . The film was well received by critics and holds
26334-555: The truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, and imagining a cartoon version of himself arguing with a cartoon Annie portrayed as the Evil Queen in Snow White . Alvy attempts a return to dating, but the effort is marred by neurosis and an episode of bad sex that is interrupted when Annie calls in the middle of the night, insisting that he come over immediately to kill
26505-452: The truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, and imagining a cartoon version of himself arguing with a cartoon Annie portrayed as the Evil Queen in Snow White . Alvy attempts a return to dating, but the effort is marred by neurosis and an episode of bad sex that is interrupted when Annie calls in the middle of the night, insisting that he come over immediately to kill
26676-565: The two men were Allen's managers and received this same credit on his films from 1969 to 1993. However, for this film, Joffe took producer credit and therefore received the Academy Award for Best Picture . The title sequence features a black background with white text in the Windsor Light Condensed typeface, a design that Allen used on his subsequent films. Stig Björkman sees some similarity to Ingmar Bergman 's simple and consistent title design, although Allen says that his own choice
26847-500: The two men were Allen's managers and received this same credit on his films from 1969 to 1993. However, for this film, Joffe took producer credit and therefore received the Academy Award for Best Picture . The title sequence features a black background with white text in the Windsor Light Condensed typeface, a design that Allen used on his subsequent films. Stig Björkman sees some similarity to Ingmar Bergman 's simple and consistent title design, although Allen says that his own choice
27018-451: The unusual men in her past. They had met playing tennis doubles with friends. Following the game, awkward small talk leads her to offer him a ride uptown, and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in "mental subtitles" as an escalating flirtation. Their first date follows Annie's singing audition for a nightclub (" It Had to be You "). After their lovemaking that night, Alvy
27189-451: The unusual men in her past. They had met playing tennis doubles with friends. Following the game, awkward small talk leads her to offer him a ride uptown, and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in "mental subtitles" as an escalating flirtation. Their first date follows Annie's singing audition for a nightclub (" It Had to be You "). After their lovemaking that night, Alvy
27360-408: The younger Helen. Marcia devises a plan to trick Paul into incriminating himself by using Helen, someone he trusts, to claim she saw Lillian’s unincinerated body. Ted, a playwright theater owner, sets up a false audition for actress Helen Moss, having her read aloud a phony script with innocuous text written by Ted that will not tip off Helen while they secretly record her. Splicing together words from
27531-461: Was "definitely a reaction" to Allen's relationship problems, including the casting of Anjelica Huston as "a much younger first time novelist" with whom Allen's character became romantically involved (Huston was 41 during production). In the fall of 1992, Allen called Diane Keaton and asked her to fill in for Farrow, and she immediately accepted. When asked if he had re-written the script to fit Keaton's talents, Allen said: No, I couldn't do that. In
27702-663: Was also named the funniest ever written by the Writers Guild of America in its list of the "101 Funniest Screenplays". In 1992, the Library of Congress selected the film for preservation in the United States National Film Registry as being "culturally, historically or aesthetically significant". Comedian Alvy Singer is trying to understand why his relationship with Annie Hall ended a year ago. Growing up in Brooklyn , he vexed his mother with impossible questions about
27873-485: Was also named the funniest ever written by the Writers Guild of America in its list of the "101 Funniest Screenplays". In 1992, the Library of Congress selected the film for preservation in the United States National Film Registry as being "culturally, historically or aesthetically significant". Comedian Alvy Singer is trying to understand why his relationship with Annie Hall ended a year ago. Growing up in Brooklyn , he vexed his mother with impossible questions about
28044-425: Was nominated for the Big Five Academy Awards , winning four: the Academy Award for Best Picture , two for Allen ( Best Director and, with Brickman, Best Original Screenplay ), and Best Actress for Keaton. The film additionally won four BAFTA Awards , including Best Film , Best Direction (for Allen), Best Screenplay (for both Allen and Brickman) and Best Actress in a Leading Role (for Keaton), in addition to
28215-418: Was ranked 90th on their list of greatest songs included in a film, and her line "La-dee-da, la-dee-da." was named the 55th greatest movie quote. The screenplay was named the sixth greatest screenplay by the Writers Guild of America, West while IGN named it the seventh greatest comedy film of all time. In 2000, readers of Total Film magazine voted it the forty-second greatest comedy film of all time, and
28386-418: Was ranked 90th on their list of greatest songs included in a film, and her line "La-dee-da, la-dee-da." was named the 55th greatest movie quote. The screenplay was named the sixth greatest screenplay by the Writers Guild of America, West while IGN named it the seventh greatest comedy film of all time. In 2000, readers of Total Film magazine voted it the forty-second greatest comedy film of all time, and
28557-401: Was speculated in the press that this deal was not extended because of the filmmaker's personal problems or that his films were not very profitable. Allen, however, denied these allegations in interviews at the time. Zach Braff , who was 17 years old at the time, appeared in one scene as Nick Lipton, the son of Larry and Carol. Years later, he said: "When I look at that scene now, all I can see is
28728-496: Was the film where Allen "found his own singular voice, a voice that echoes across events with a mixture of exuberance and introspection", referring to the "comic delight" derived from the "spirited playing of Diane Keaton as the kooky innocent from the Midwest, and Woody himself as the fumbling New York neurotic". Empire magazine rated the movie five out of five stars, calling it a "classic". In 2017, Claire Dederer wrote, " Annie Hall
28899-446: Was the film where Allen "found his own singular voice, a voice that echoes across events with a mixture of exuberance and introspection", referring to the "comic delight" derived from the "spirited playing of Diane Keaton as the kooky innocent from the Midwest, and Woody himself as the fumbling New York neurotic". Empire magazine rated the movie five out of five stars, calling it a "classic". In 2017, Claire Dederer wrote, " Annie Hall
29070-516: Was voted in at No. 68 on Empire magazine's list of The 500 Greatest Movies of All Time . It is also ranked No. 2 on Rotten Tomatoes' 25 Best Romantic Comedies, second only to The Philadelphia Story . In 2012, the film was listed as the 127th best film of all time by the Sight & Sound critics' poll. The film was also named the 132nd best film by the Sight & Sound directors' poll. In October 2013,
29241-423: Was voted in at No. 68 on Empire magazine's list of The 500 Greatest Movies of All Time . It is also ranked No. 2 on Rotten Tomatoes' 25 Best Romantic Comedies, second only to The Philadelphia Story . In 2012, the film was listed as the 127th best film of all time by the Sight & Sound critics' poll. The film was also named the 132nd best film by the Sight & Sound directors' poll. In October 2013,
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