The non-linear structure is a big part of it. There’s also the scenes where Alvy speaks directly into the character; the “fantasy” sequences with Marshall McLuhan, the animated sequence with Annie as the Wicked Queen, or when Alvy and Annie go back in time (a la *The Christmas Carol) and comment on past episodes; the split screen; the use of subtitles to reveal the characters’ thoughts, etc. I could go on. I don’ t know if these things were groundbreaking, but they were certainly fun and creative.
OT: A lot of these elements seem to appear in Quentin Taratino’s movies.
The film’s structure may be nonlinear (or, nonchronological) but it certainly not “original.” Many films before and since have utilized flashbacks and fantasy scenes.
What is perhaps more unique in a mainstream movie is that much of the film’s structure is conveyed through recurring motifs (visual and dialogue). Most of those motifs begin toward the start of the film and reappear toward the end, so that attentive viewers will notice the decline and rise of the respective characters.
For instance, there are two restaurant scenes in Annie Hall, one at the beginning and one at the end. In the first, Annie is out of place at a Jewish deli and orders “pastrami on white bread with mayonnaise.” Alvy has the upper hand. Toward the end, the couple meets again, this time in a health food restaurant on Sunset Boulevard. This time, ALVY is out of place and orders “mashed yeast and sprouts.”
There are two scenes of the protagonists driving their cars out of control. At the beginning, Annie drives her VW convertible out of control on the streets of new York, Her life is out of control at that point. At the end, Alvy drives his rented Continental out of control in an L.A. parking lot, showing that HIS life is now out of control. (By the way, in that latter scene, we notice that Annie now drives a sporty Datsun 260Z, showing her growth in self-esteem, California style.)
There are two scenes with lobsters, one about 13 minutes into the film, the other about 13 minutes from the end of the film. In the first, the excitement of the brand-new Alvie-Annie relationship is conveyed through the handheld camerawork; at the end, Alvie is with another woman and the camera is stationary, showing that there’s no romance with this new woman (who doesn’t get his jokes either).
At about the 1/3 mark of the film, Annie sings (“It Had to be You,” an appropriate choice on her first date with Alvie), Her performance is terrible, interrupted by microphone static, noisy waiters, telephones ringing, a “restless” crowd, and other distractions. The camera views her from a distance, making her small and insignificant in the frame. At the 2/3 mark, she sings again (“Seems Like Old Times,” another good choice because she had just reconciled with Alvie) but this time there are no distractions and her voice is in fine form. The camera views her in tight close-up, looking up at her. In combination with the plot events and dialogue, these visual and aural motifs convey that the insecure young lady from Chippewah Falls has come into her own.
At the halfway mark, Director Allen cuts the screen in half to show us the Hall family and a flashback memory of the Singer brood. Annie’s side of the split screen is well-lit, the family talks about boat basins and swap meets; Alvie’s family is on the dark side of the screen and they talk about disease, unemployment, and death. At the 3/4 mark, Allen splits the screen again to show us the two protagonists at their respective therapy sessions. Again, Annie’s side is brightly lit with modern decor; Alvie’s is dark with traditional furniture. Annie sits up, capable of movement and change; Alvy lies down, incapable of developing. Significantly, Annie’s therapist is not in the shot, indicating that she had become more self-reliant; Alvy’s shrink hovers over him in the frame.
There are two references to Annie’s black soap (a reference that I have yet to understand), two scenes of drug use (marijuana at the beginning, cocaine at the end), and three references to leather. There are more than three allusions to The Sorrow and the Pity, which might have been the title for Annie Hall. (There are MANY more such instances, but I don’t want to turn this into a lecture!)
By the way, Ralph Rosenblum, who directed many of Allen’s films, wrote a book, When the Shooting Stops. In it, he took most of the credit for organizing and structuring the mess of footage Woody gave him. Rosenblum never worked on a Woody Allen movie after that book was published. (Coincidence?)
That, I think, is the true cinematic accomplishment of Annie Hall: it tells a traditional story but uses all of the subtle resources of film to structure its tale using recurring motifs, usually the structuring principles of avant-garde poetry and experimental movies.
Sorry about the double post. The original was l-o-n-g enough!
Frank
Not to start an argument but what I meant by original structure was not the fact that it was non-linear (non-chronological) but that Allen used the Non-linear structure to contrast different stages in the relationship. Sorry if that was unclear.
But yeah great post.
Great post, Frank.
Your absolutely right that the non-linear structure does not make Annie Hall unique. But my impression is that there aren’t many films that preceded Annie that used all of the elements I mentioned.
I’m a little unclear about what you mean about recurring motifs because my sense is that other films have used similar techniques to show changes in the power dynamics, etc. Or maybe I’m not understanding you.
What about the conversational quality of the film—that the film is based on conversations—often very culturally self-conscious? Would you say that this was one of the first films that did this? (Films that are similar that came after: Diner, Stand By Me, Reservoir Dogs, etc.)
Jazzaloha
Off the top of my head I can just think of “My Night at Maud’s” (1969). Although completely different, Rohmer made much of the film based on conversation.
Never saw that. But I can think of another film: Scenes from a Marriage. However, the conversation in that film (if I recall) centers around the couple’s emotional life; whereas in Annie Hall there culture (mostly high brow) is often the focus of the discussion. (I might be mixing blending Manhattan in here, too.) What I’m trying to say is that Annie Hall has a post-modern quality (that Scenes does not).
You make me want to see it again…last time I saw it was on vhs.
Also, breakthrough in hilarious Freud jokes.
Hans Lucas
Woody Allen’s “Annie Hall” is commonly agreed as one of Allen’s finest moments but I feel like there is a lack of discussion on what makes this film great. Throughout the film Allen places to distinct phases of a relationship after one another; disregarding linear story structure and instead creating a completely original structure that perfectly encompasses Alvy and Annie’s relationship.
I was just wondering what other ways Annie Hall has utilized the medium to create a groundbreaking piece of art.