Manhattan (Blu-ray) R
Woody Allen's New Comedy Hit
Out of Print:
Future availability is unknown
on most orders of $75+
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Brand New
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Blu-ray Details
- Rated: R
- Run Time: 1 hours, 36 minutes
- Video: Black & White
- Encoding: Region 1 (USA & Canada)
- Released: January 24, 2012
- Originally Released: 1979
- Label: Mgm (Video & Dvd)
Performers, Cast and Crew:
Starring | Diane Keaton, Woody Allen, Michael Murphy & Mariel Hemingway | |
Performer: | Meryl Streep, Anne Byrne, Karen Ludwig & Michael O'Donoghue | |
Directed by | Woody Allen | |
Edited by | Susan E. Morse | |
Screenwriting by | Woody Allen & Marshall Brickman | |
Composition by | George Gershwin | |
Cinematography by | Gordon Willis | |
Produced by | Charles H. Joffe |
Entertainment Reviews:
What George M. Cohan did with the Stars and Stripes in 1919, Allen is doing with neurosis in 1979: waving it, telling us that as long as we're proud of it, we're all pretty damned OK. That's the real romance of Manhattan.
Full Review
The New Republic
Rating: A- --
I don't know if I can think of a Woody Allen film that looks as good.
Full Review
rachelsreviews.net
The Gershwin-laden soundtrack is sumptuous and the black-and-white cinematography by Gordon Willis is dazzling...
Premiere
With Manhattan, a sparkling romance about the overspecialized anxieties of overintellectualized New Yorkers, Woody Allen has bounced back from the sobriety of "Interiors" to an exhilarating new comic high.
Full Review
Washington Post
[P]iquant, perceptive and plain funny...
Uncut
Allen has always had difficulty harmonising his comic talents and the skittering form of his films: Manhattan is a temporary resolution gratefully received.
Full Review
Sight and Sound
Manhattan is not just Woody Allen's dream movie. Wistful as it is witty, it's his dream of the movies.
Village Voice
Product Description:
Woody Allen finished his first decade of filmmaking, the 1970s, with one of his greatest and most deliberately artistic films, the love song to his home city MANHATTAN. Allen plays Isaac Davis, another one of his thinly veiled self-portraits, who finds himself suffering from a mid-life crisis. Unhappy in his career as a variety show comedy writer and newly divorced from a woman who has since come out as a lesbian, Isaac waffles between two relationships: that with emotionally honest and open, but far too young, Tracy (Mariel Hemingway in an Academy Award nominated performance) and with pseudo-intellectual, neurotic Mary (Diane Keaton). Allen uses these two women to contrast the naiveté and lack of pretension of youth with the growing cynicism of middle age.
Although the acting and writing is some of the sharpest of Allen's filmmaking career, what is truly memorable and endearing about MANHATTAN is its romantic view of New York. Whereas the character relationships in the film are largely dysfunctional and fueled by a vision of perfection, by contrast the city itself is envisioned by Allen as an object of perfection. In order to create aesthetically pleasing images of the city, Allen and his longtime cinematographer Gordon Willis decided to shoot the film in black and white and in the 2.35:1 widescreen ratio, the first time that Allen had used either format. The images are backed by the songs of quintessential New York composer George Gershwin, setting a tone of romanticism and grandeur that underlies Isaac's (and Allen's) inherent dissatisfaction with the mundane aspects of his life. The magnificence of the city of New York is the backdrop to the search for a similar splendor in human relationships in MANHATTAN.
Although the acting and writing is some of the sharpest of Allen's filmmaking career, what is truly memorable and endearing about MANHATTAN is its romantic view of New York. Whereas the character relationships in the film are largely dysfunctional and fueled by a vision of perfection, by contrast the city itself is envisioned by Allen as an object of perfection. In order to create aesthetically pleasing images of the city, Allen and his longtime cinematographer Gordon Willis decided to shoot the film in black and white and in the 2.35:1 widescreen ratio, the first time that Allen had used either format. The images are backed by the songs of quintessential New York composer George Gershwin, setting a tone of romanticism and grandeur that underlies Isaac's (and Allen's) inherent dissatisfaction with the mundane aspects of his life. The magnificence of the city of New York is the backdrop to the search for a similar splendor in human relationships in MANHATTAN.