Word: allenated
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Dates: during 1970-1979
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...film as a juxtaposition of visual events unforcefully related to each other is in accord with the modern tendency in art to conform to an open structure rather than to depend on tight dramatic unity. With such an "indented" narrative line, Manhattan can be seen as a cinematization of Allen's personal diary as opposed to novelization of a film (ironically touched upon in the film with Keaton's involvement in this type of "literary" work...
...FILM begins with a documentary-like montage of brief long views showing the New York skyline at night and in the early morning. The ensuing conversation between Allen and his girlfriend Tracy (Mariel Hemingway) takes place in the bar (Elaine's), composed of a dozen brightly lit medium and close-up shots. then the first long tracking take occurs along the street with Allen and his girlfriend in the foreground; in contrast, this is succeeded by an interior sequence with Keaton and Murphy in their apartment, with several medium shots executed by a panning camera. Again there is a long...
This pattern of sequential order is carried out throughout the film-a rhythmic progression which, step by step, builds up the dynamic pace of Manhattan. Like a series of visual vignettes culled from a personal log (Allen calls them chapters), these sequences begin and end abruptly: the opening conversation between Allen and his girlfriend is, we immediately realize, a part of an ongoing relationship, while the closing conversation leaves us, as well as Allen, in a quandry; will they meet again and what will be the denouement of their romance...
...widely known that Allen admires Bergman as "the greatest living filmmaker," openly attributing at least part of his inspiration to Bergman's work. Interiors drew upon the thematic and philosophical features of Cries and Whispers, while Manhattan reveals many shooting devices typical of Bergman's films, including the temporal prolongation of shots made possible by photographing characters in close-up with the moving camera. By doing so, Allen decreases the theatrical nature of mise-en-scene characteristic of his previous movies (including Annie Hall in which dialogue has been filmed mainly by a stationary camera in front of which...
...that the human beings appear to be animated marionettes in an ambience of rich urban decor. Inevitably, such visual dynamism provides an appropriate frame for a casual style of acting, freed of the contrivance and pomposity prevalent in contemporary comedies. The most spontaneous actor is, of course, Woody Allen himself, noted for his extemporaneous manner of rendering lines and puns. His wit seems to be spur-of-the-moment, forged at the very instant of delivery before the camera. The effect of improvisation owes a great deal, as well, to Allen's (and Marshall Brickman's) extraordinary feeling...