Allen's bittersweet love letter to NYC still stands as one of his great films amongst many. The scripting and performances are quite magic as is the photography of Gordon Willis. Mariel Hemingway is heartbreaking as the young Tracy and Michael Murphy makes a great impression as Yale. At the heart of it all is a wonderful romanticism brought to life by the titular borough.
La Rapsodia in Blu di Gershwin apre magnificamente il sipario su una New York resa ancora più fascinosa dalla bellissima fotografia ed un bianco e nero suggestivo, che fa da palcoscenico per una delle opere meglio riuscite del regista americano. L'umorismo di Allen è sempre pseudo-intellettuale, ma estremamente credibile, efficace e quasi mai forzato. Una sorprendentemente divertente cartolina dalla Grande Mela.
For a biography of a (supposedly) ever changing and sleepless city, "Manhattan" offers a non-story that ends by retreating to pretty much the same situation and problems it began with, even shamelessly admiring its own defeat. I prefer Woody Allen when he's creatively challenging his anxieties, not when the film's denouement is basically selfish, borderline pathological, fixation on himself.
10/10. Though the film is visually arresting each time I view it, the new 4K restoration does great justice to Willis' superb cinematography. MANHATTAN works because it masterfully executes simple cinematic devices--the film lingers on well-framed shots while terrific musical pieces do a lot of the emotional heavy-lifting. (Despite the uncomfortable storyline involving Woody's underage lover.)
One of the best opening scenes in film history. A love letter to Manhattan. When it screened at Tribeca after 9/11 people cheered and cried. Woody Allen's Manhattan would be gone forever in the years following 9/11, as fear gave way to gentrification, the city will never be the same. Thank God Allen made this love letter to the greatest city in the world, that might never be again. We'll always have Manhattan.
Love and the City. Perhaps Allen’s visually best movie with its nostalgic grainy black-and-white cinematography. And then there’s the trademark witty dialogue that seems to annoy some because of the insider feel - I guess you need to have an understanding of the liberal scene of which Allen is making fun. But this time there’s some touching drama involved as well, and Allen manages to combine them with ease.