Word: partings
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Dates: during 1970-1979
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...urban movement by executing 90 per cent of his shots using a panning, tracking and dollying camera. Assisted by his director of photography, Gordon Willis, Allen created scores of dynamic long takes penetrating the New York City streets from different angles. Accompanying the characters, their camera embraces a characteristic part of the environment while maintaining a compositional coherence of the moving image. The background in these takes persistently changes in design and perspective while the foreground is periodically "disturbed" by the turbulence of passing vehicles or silhouetted pedestrians. While the exterior long trackings are executed in medium shots with...
Many films have used great cities as a "stage" which has been no more than a backdrop, however beautiful, for their action. In contrast, Allen and Willis perceived New York's irresistable dramatic force and succeeded in making it an integral part of their film. Even in the brief montage inserts(i.e., Allen and Keaton sitting under the 59th Street Bridge; Allen running through traffic or playing in the park with his son), the architecture of New York functions as an "emotional ingredient" of the photographed event. Supported by characteristic musical compositions (of which Gershwin's "Rhapsody in Blue...
...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...
...Neighborhoods change-it's part of the motion of humanity," Fraiman said...