Annie Hall (1977), from director-actor-co-writer Woody Allen, is a quintessential masterpiece of priceless, witty and quotable one-liners within

a matured, focused and thoughtful film !t is a bittersweet romantic comedy of modern contemporary lo"e and urban relationships (a great successor to classic #ollywood films such as The Awful Truth (1937) and The Philadelphia Story (1940)), that e$plores the interaction of past and present, and the rise and fall of Allen%s own challenging, ambi"alent &ew 'or( romance with his opposite - an equally-insecure, shy, flighty )idwestern WA*+ female (who blossoms out in a +ygmalion-li(e story) Annie Hall clearly has semi-autobiographical elements - it is the free-wheeling, stream-of-consciousness story of an inept, angst-ridden, pessimistic, ,roo(lyn-born and -ewish stand-up comedian - much li(e Allen himself (who started out as a .o(e writer for The Tonight Show) - who e$periences crises related to his relationships and family #is unstable lo"e affair with aspiring singer Annie #all begins to disintegrate when she mo"es to /os Angeles and disco"ers herself - and a new life 0A real-life relationship and brea(up did occur in early 1971 between Allen and co-star 2eaton 2eaton%s birth name was 3iane #all, her nic(name was Annie, and she did ha"e a 4rammy #all And Woody Allen played a similar role as mentor to 3iane 2eaton (about &ew 'or( life, politics, philosophy, and boo(s), as did best friend 5ony 6oberts to Allen 7 5his brea(through film came after Allen%s fi"e earlier light-hearted comedies (from 1989-1979) that were ta(e-offs of "arious film genres or boo(s, often similar to episodic )ar$ ,rothers% films: Allen's Previous Films Take the oney and !un (19"9) Genre/Work Satirized ;rime<+rison or 4angster =ilms War or %*outh of the ,order% =ilms *elf-#elp ,oo(s *cience-=iction =ilms ;lassic 6ussian /iterature, ;ulture, and #istory, the &apoleonic Wars

#anana$ (1971) %&erything 'ou Alway$ (anted to )now A*out Se+ , (, #ut (ere Afraid to A$k) (197-) Sleeper (1973) .o&e and /eath (1970)

Allen%s pre"ious films might be characteri>ed as a series of irre"erent comic s(etches with frequent instances of absurdist humor and slapstic( !n contrast, this urban dramatic comedy, his best-lo"ed wor(, mar(ed a ma.or transition !t was his most successful, deepest, self-refle$i"e, most elaborate and unified wor( to that time #owe"er, the film could ha"e been a disaster if it hadn%t been edited down from its initial length of well o"er two hours to about 99 minutes by editor 6alph 6osenblum )any scenes that were shot were eliminated, and others were se"erely truncated And the film was originally a murder mystery, and might ha"e been titled Anhedonia (a state of acute melancholia with an inability to e$perience pleasure and en.oy oneself), A !oller 1oa$ter 2a3ed /e$ire, or e"en 4t Had to #e 5ew if one of its alternati"e titles had been chosen 0Allen later directed murder mysteries to satisfy that impulse: Shadow$ and 6og (199-), and anhattan urder y$tery (1993) 7 !n addition to Allen%s Hannah and Her Si$ter$ (197"), this was one of his most commerciallysuccessful films (at a budget of ?@ million, it brought in a bo$-office of ?@1 million) Annie Hall capitali>ed on many of the ingredients that had been the content of his earlier films - the sub.ects of anti*emitism, life, romantic angst, drugs and death, his obsessi"e lo"e of &ew 'or(, his disli(e of ;alifornia (mostly / A ) fads and intellectual pomposity, his introspecti"e neuroses and pessimism, his requisite .o(es and psychose$ual frustration about se$, numerous put-downs of his own appearance and personality, and distorted memories of his childhood 5he film%s more sensiti"e and realistic (still-comical) yet serious-minded tone about an intimate and emotional relationship appealed to all film-goers, not .ust Woody Allen cultists With fi"e nominations, the film was a four-time Academy Award winner: ,est Actress (3iane 2eaton with her sole Ascar win), ,est +icture (;harles # -offe, producer), ,est 3irector (Woody Allen), and ,est Ariginal *creenplay (Woody Allen and )arshall ,ric(man) !t defeated the science-fiction bloc(buster Star (ar$ (1977) for ,est +icture !t was the fir$t comedy since To3 5one$ (19"3) to ta(e the ,est +icture Ascar A fifth nomination was for Woody Allen for ,est Actor, who lost to 6ichard 3reyfuss for The 8ood*ye 8irl (1977) - in another &'-based light romantic comedy !t was quite a feat that Allen was nominated for directing, writing, and acting for the same film - and won two of the three awards 0!t was

only the $e9ond time in Academy history, up to that time, that one person was simultaneously nominated for three Ascars, ,est Actor, ,est 3irector, and ,est Ariginal *creenplay - Arson Welles had recei"ed a pre"ious similar honor for 1iti:en )ane (1941) 7 5he film influenced fashion designers (with the masculine, androgynous BAnnie #allB loo() and made 3iane 2eaton a new leading lady 05he Bloo(B was a mis-matched, eclectic conglomeration of men%s costuming: C1%s style baggy light brown chino pants, an o"ersi>ed man%s white shirt, a dar( grey, wide nec(tie with shiny pol(a-dot spots, a blac( waistcoat "est, and a floppy bowler hat 3espite the film%s influence on fashion in &ew 'or( and elsewhere (6uth )orley wor(ed with 6alph /auren, who designed Annie%s outfit), there was no ,est ;ostume 3esign nomination 7 And there are quic( cameo glimpses of future stars (*helley #ac(, ,e"erly 3%Angelo, -ohn 4lo"er, *igourney Wea"er, ;hristopher Wal(en, and -eff 4oldblum) and current celebrities (3ic( ;a"ett, 5ruman ;apote, +aul *imon, and )arshall )c/uhan) 5wo later romantic comedies, director 6ob 6einer%s (hen Harry et Sally;;;(1979) and ,illy ;rystal%s 6orget Pari$ (1990)< paid homage to this film with a similar theme Allen%s own blac( comedy /e9on$tru9ting Harry (1997) twenty years later has been considered the %dar(% side of this film 2eaton%s ne$t film in the same year, .ooking for r; 8ood*ar (1977), was a radical departure from this film, in which she too( on the role of a promiscuous ;atholic girl who ended up murdered - the "ictim of the singles bar scene 5he ma.or theme of the film is that there are se"ere limitations in life (death and loss are the two most pre"alent), but that art forms (such as the printed word, films, and plays) ha"e the power to reshape reality and pro"ide some measure of control, thereby compensating for life%s limitations 5here are a "ariety of inno"ati"e strategies and narrati"e techniques in the (aleidoscopic film that support the contention that Woody Allen is functioning as a self-conscious artist who e"aluates his entire life (including romances) and uses the film medium to achie"e greater control o"er reality 5he stylistic strategies and cinematic techniques that support the fragmented nature of the film include: Cinematic Technique direct addresses to the camera memory-flashbac(s and other flashbac(s adult time-tra"el bac( to childhood inter.ections into the scene (unseen by others) "ignettes the sudden production of a real-life character ( B,oy, if life were only li(e thisB) split screens, and con"ersations across the two screens transformations double-e$posed action subtitles that contradict the action "oice-o"er commentary and asides to the camera or to complete strangers about the e"ents of the film dialogue between two introspecti"e "oice-o"ers animation fantasy 5he Snow (hite cartoon Author )arshall )c/uhan appears, to con"eniently settle an argument 5he dual psychiatrist scene, and the con"ersation between the two families Al"y becomes a bearded #asidic -ew while "isiting Annie%s anti-*emitic family Annie%s ghost scene 5he famous balcony scene Comment 6eminiscent of !ngmar ,ergman films, and films such as Strange 4nterlude (193-), or Alfie (19"") with )ichael ;aine !nfluenced, in part, by 1iti:en )ane (1941) 6eminiscent of ,ergman%s (ild Straw*errie$ (1907) 6eminiscent of ,ergman%s Per$ona (19"0)

After the silent opening credits (influenced by director )artin 6itt%s film The 6ront (197")< starring Woody Allen), the opening scene has the main character (indistinguishable from Woody Allen himself, dressed in a tweed .ac(et, red plaid shirt, and his blac(-framed spectacles) spea(ing intimately and directly to the audience "iewer in a full, star( closeup #e tells two (ey -ewish .o(es in a stand-up, "aude"ille-style monologue !n his first .o(e, he satiri>es his own feelings about life and its miserable shortcomings: 5wo elderly women are at a ;ats(ill )ountain resort And one of %em says: %,oy, the food in this place is really terrible % 5he other one says: %'eah, ! (now And such small portions % Well, that%s essentially how ! feel about life =ull of loneliness and misery and suffering and unhappiness, and it%s all o"er much too quic(ly #is second .o(e pays tribute to (ey indi"iduals in his life - 4roucho )ar$ and *igmund =reud =rom 4roucho )ar$, the comedian learned comedy =rom =reud%s writings on wit and .o(es, the %pleasure mechanism%, neuroses, dreams, and psychopathology 0the content of the film, in factD7, he del"ed into his unconscious: 5he other important .o(e for me is one that%s usually attributed to 4roucho )ar$ but ! thin( it appears originally in =reud%s (it and 4t$ !elation to the =n9on$9iou$ - and it goes li(e this !%m paraphrasing ! would ne"er want to belong to any club that would ha"e someone li(e me for a member 5hat%s the (ey .o(e of my adult life, in terms of my relationships with women 5he malcontented comic, later identified as Al"y *inger (Woody Allen) 0the name bears some resemblance to the hedonistic, ;oc(ney title character in Alfie (19"") - a similar film about the lead character%s lo"e life and his problems with commitment7, has .ust turned forty (and already e$perienced two failures in his pre"ious marriages to intellectual -ewish women) and is in the middle of a mid-life crisis, with aging bringing on signs of slight balding: B! thin( !%m gonna get better as ! get older B #e hopes to become the Bbalding "irile type, you (now, as opposed to, say, the distinguished gray, unless !%m neither of those two Enless !%m one of those guys with sali"a dribbling out of his mouth who wanders into a cafeteria with a shopping bag screaming about socialism B 5he film, not a standard chronological narrati"e, presents the free-association memories of a one-year long romance with Annie #all (3iane 2eaton) that is already o"er 3e"astated, the comedian switches from the chatter of his comedy act to melancholy #e also switches from the clearly delineated Woody Allen character to the fictional character of the film 5he film searches for his answer to the question - Why did they brea( upF (and by implication, why does contemporary lo"e dieF) #e confesses in a crest-fallen manner: Annie and ! bro(e up And ! still can%t get my mind around that 'ou (now, ! (eep sifting the pieces of the relationship through my mind, and e$amining my life and trying to figure out where did the screwup come, you (now A year ago, we were in lo"e, you (now As a successful, but neurotic -ewish &ew 'or( comedian, he doesn%t consider himself a Bmorose type B B!%m not a depressi"e character !-!, uh, you (now, ! was a reasonably happy (id, ! guess,B he assures the audience and himself =i$ated on his past as one possible answer to his question, Al"y loo(s bac( to his childhood, mi$ing a quasi-=reudian analysis with 4roucho )ar$-ian humor #e was raised in ,roo(lyn during World War !! and his first childhood memories are of depression #is o"er-protecti"e, o"er-achie"ing, and panic(ed -ewish mother (-oan &ewman) has brought her young and insecure, but precocious, bespectacled 9 year old son Al"y *inger (-onathan )un() to a doctor 5he boy, e$hibiting the latent characteristics of his future adult personality, is pre-occupied with contemplating 3eath - he metaphysically despairs at the impending e$pansion of the uni"erse and human(ind%s doom to the condescending and patroni>ing physician: Al"y%s mother: #e%s been depressed All of a sudden, he can%t do anything 3octor: Why are you depressed, Al"yF Al"y%s mother: 5ell 3r =lic(er (5o the doctor) !t%s something he read 3octor: *omething he read, huhF Al"y: 5he uni"erse is e$panding Well, the uni"erse is e"erything, and if it%s e$panding, some day it will brea( apart and that will be the end of e"erything Al"y%s mother: What is that your businessF (5o the doctor) #e stopped doing his homewor( Al"y: What%s the pointF

Al"y%s mother: What has the uni"erse got to do with itF 'ou%re here in ,roo(lyn ,roo(lyn is not e$panding 3octor: !t won%t be e$panding for billions of years, yet Al"y And we%"e got to try to en.oy oursel"es while we%re here, huh, huhF #a, ha, ha (#e gi"es an artificial laugh before ta(ing another drag on his cigarette) According to the "oice-o"er account by an adult Al"y, he is trying to disco"er the reasons for his adult confusion by sub.ecting himself to =reudian analysis - and reali>ing that he has e$aggerated his childhood memories =lashbac(s show his early childhood and grade schooling e$perience #is neurotic, ner"ous personality may be due to ha"ing been brought up in a trembling house underneath the roller coaster in the ;oney !sland section of ,roo(lyn !n the *inger home, the house was sub.ected to "icious sha(ing each time a roller-coaster car rode by that was filled with amusement par( thrillsee(ers At the dinner table, Al"y suffers - struggling to ladle a qui"ering spoon-full of reddish tomato soup into his mouth 0&ote: 5he roller-coaster was populari>ed with a cameo in the film 5he real rollercoaster -- dubbed the 5hunderbolt -opened in 19G9 5he house in which young Al"y supposedly Bli"edB was the actual home of the ride%s owners, the )oran family, who were inter"iewed in +,*%s A3eri9an %+perien9e documentary 1oney 4$land> A /o9u3entary 6il3 (-000) !t was the fir$t roller-coaster to use a steel frame !t lay abandoned for many years and was demolished in mid-&o"ember, G111 7 With a Bhyperacti"e imagination,B he also e$periences problems distinguishing between Bfantasy and reality B #is wor(ingclass father ran the bumper-car concession at ;oney !sland where he would compensate for feelings of aggression by ta(ing it out on fellow bumper car dri"ers: B! used to get my aggression out through those cars all the time B 5he camera pans from left to right past three of Al"y%s childhood teachers An the blac(board behind the first teacher, the words B5EH*3A' - 3H; 1 - B (19@G) are written 0Woody Allen%s own birthday is *unday, 3ecember 1, 19C97 5he teachers at his school are moc(ed and castigated for their ignorance in the profession: B5hose who can%t do teach And those who can%t teach teach 4') And, of course, those who couldn%t do anything, ! thin(, were assigned to our school B Al"y%s classmates are called BidiotsB and B.er(s B !n the ne$t scene, an adult Al"y no longer pro"ides "oice-o"er narration or an ob.ecti"e perspecti"e - he physically inter.ects himself into the past - he "isits his classroom and sits with the younger (ids, clarifying his childhood actions to both his teacher and a classmate 05he scene was filmed on location at *t ,ernard%s *chool in the West Iillage area of &ew 'or( 7 As a se$ually-confused adult - with little differentiation between fantasy and reality, he tal(s bac( to his teacher, defending himself o"er impulsi"ely (issing one of the little girls: Al"y (young): What did ! doF 5eacher: 'ou should be ashamed of yourself Al"y (adult): Why, ! was .ust e$pressing a healthy se$ual curiosity 5eacher: *i$ year old boys don%t ha"e girls on their minds Al"y (adult): ! did 4irl: =or god%s sa(es, Al"y, e"en =reud spea(s of a latency period Al"y (adult): Well ! ne"er had a latency period ! can%t help it 5eacher: Why couldn%t you ha"e been more li(e 3onaldF &ow there was a model boy +ro.ections are made of what a few of his other classmates will be doing many years later - each of them stands up to prophetically foretell his<her future profession !n a scene which implies denial of free will, some of them admit their adult life%s failures: - B! run a profitable dress company B - B!%m president of the +in(us +lumbing ;ompany B - An orthodo$ boy: B! sell tallises B - A normal-loo(ing (id: B! used to be a heroin addict &ow !%m a methadone addict B - A mousey-loo(ing girl: B!%m into leather B - Al"y grows up and becomes Ba comedian B A grainy, discolored 5I clip shows comedian<writer %Al"y% (and Allen himself) as a guest on the /i9k 1a&ett tal( show telling another self-deprecating .o(e: 5hey did not ta(e me in the Army ! was, uhm, interestingly enough, ! was @-+ 'es !n the e"ent of war, !%m a hostage 3irectly to the camera as she peels carrots, Al"y%s mother chastises her neurotic, adult son: B'ou always only saw the worst in people 'ou ne"er could get along with anyone in school 'ou were always out of step with the world H"en when you got famous, you still mistrusted the world B

5he story flashes bac( about a year earlier to a time when Al"y was in"ol"ed in a dating relationship with Annie A stationary camera shoots down a quiet, urban sidewal( - way in the distance, two people approach closer and closer, engrossed in con"ersation 5heir "oices are heard off-screen !nsecure, sensiti"e and paranoid of ethnic and anti-*emitic remar(s, an agitated Al"y e$plains to his calm friend 6ob (5ony 6oberts), that he thin(s an acquaintance has made an anti-*emitic remar( in a -ew-baiting incident: 'ou (now, ! was ha"ing lunch with some guys from &,;, so ! said, %3id you eat yet or whatF% And 5om ;hristie said, %&o, -HWF% &ot %3id youF% -HW eatF -HWF 'ou get itF -HW eatF 6ob thin(s that Al"y (often called %)a$% by 6ob - and "ice "ersa) Bsees conspiracies in e"erything B 05o a"oid being recogni>ed when boo(ing hotel or restaurant reser"ations, Woody Allen would call himself %)a$% 7 =or Al"y, life is relentlessly fearful and filled with paranoia - he must "igilantly combat all real (and imagined) fears with his intelligence and rationality 6ob suggests that Al"y mo"e from cra>y &ew 'or( ;ity to sunny /os Angeles where all of show business is located, and where he can escape such pre.udices Al"y clearly prefers )anhattan to li"ing in /os Angeles: ! don%t want to li"e in a city where the only cultural ad"antage is that you can ma(e a right turn on a red light 5he ne$t amusing sequence stereotypes interaction with a pushy, intrusi"e fan While waiting outside the ,ee(man 5heatre on *econd A"enue to meet Annie (they are midway into their relationship), Al"y is recogni>ed by an obno$ious male pedestrian (the gag speculates the guy is from the %cast of The 8odfather? (197-) - a film also featuring 3iane 2eatonD): +edestrian: Are you on tele"isionF Al"y: &o (After a long pause, Al"y admits) 'eah, once in a while +edestrian: What%s your nameF Al"y: 'ou wouldn%t (now !t doesn%t matter What%s the differenceF +edestrian: 'ou%re on, uh, the, uh, the -ohnny ;arson, rightF Al"y: Ance in a while, you (now +edestrian: What%s your nameF Al"y: !-m - !%m uh, !%m 6obert 6edford +edestrian: ;ome on Al"y (e$tends his hand for a sha(e): Al"y *inger !t was nice 5han(s "ery much for e"erything +edestrian: #ey (loudly bec(oning a friend)D 3is is Al"y *ingahD Al"y (e$asperated): =ellas, you (now +edestrian: 3is guy%s on tele"isionDDD Al"y *inger 6ightF Am ! rightF Al"y: 4imme a brea( +edestrian: 3is guy%s on tele"isionDDD Al"y: ! need the large polo mallet Gnd man: Who%s on tele"isionF +edestrian: 3is guy - on the 5ohnny 1ar$on Show Al"y: =ellas, what is thisF A meeting of the 5eamstersF Gnd man: What programF +edestrian: 2ineye %a"e your ortographF Al"y: 'ou don%t want my autographF +edestrian: &o, ! do !t%s for my girlfriend )a(e it out to 6alph Al"y: (after a double-ta(e) 'our girlfriend%s name is 6alphF +edestrian: !t%s for my bruddah (#e is handed to autograph) A/I' *!&4H6DD #H'D 5#!* !* A/I' *!&4H6DD !n a brilliant introductory shot, Annie pulls up in a ta$icab at the curb - and she is not apologetic but irritable: Al"y: -esus, what did ya doF ;ome by way of the +anama ;analF Annie: !%m in a bad mood, A2F Al"y: ,ad moodF !%m standing with the cast of The 8odfather 0A reference to a film in which 3iane 2eaton played the role of )ichael ;orleone%s (Al +acino) wife 7 Annie: 'ou%re gonna ha"e to learn to deal with it Al"y: !%m dealin% with two guys named ;heech

Annie Hall ( !""#

Rating: 4 Stars (out of 4)

$a%de%da& $a%de%da
By Jeffrey M. Anderson Buy Annie Hall on DVD. If Manhattan is Woody Allen's best movie !it" its #or#eous bla$%&and&!"ite !ides$reen ima#ery t"en Annie Hall "as to be "is best s$reen'lay. ("e movie starts !it" Woody in front of a 'lain ba$%#round tal%in# to t"e $amera and t"e routine from )rou$"o Mar* about "o! "e !ouldn't !ant to belon# to any $lub !"i$" !ould "ave "im as a member. ("is setu' brea%s do!n ordinary movie barriers tells us t"at +ust about anyt"in# in t"e movie is 'ossible and Allen ta%es full advanta#e of t"at. ("e s$reen'lay #oes all over t"e 'la$e ta%in# $"ara$ters ba$% in time && standin# in t"e room !it" t"eir 'ast $ounter'arts and 'eo'le on t"e street $omment on t"e story so far. Woody even turns into a $artoon $"ara$ter at one 'oint. A brilliant s'lit&s$reen s$ene s"o!s Woody and Diane ,eaton at t"eir res'e$tive s"rin%s (-"o! often do you "ave se*.- "e/ -"ardly ever && maybe t"ree times a !ee%- s"e/ -0onstantly1 I'd say t"ree times a !ee%1-). But Allen also uses "is no&"olds&barred formula for dramati$ s$enes as !ell. 2arly in t"e movie "e and Diane ,eaton $"ase live lobsters around t"eir %it$"en tryin# to 'ut t"em in a 'ot of boilin# !ater for dinner. Woody $ra$%s +o%es and bot" of t"em are #i##lin# and "avin# a !onderful time. 3ater Woody tries t"e same date !it" anot"er #irl and s"e +ust stands t"ere4 -!"at's t"e bi# deal.-. ("e loo% on Woody's fa$e is "eartbrea%in#. ("e movie is also one of t"e most s$at"in# loo%s at 5olly!ood. At a 'arty a youn# Jeff )oldblum is on t"e '"one !it" "is 'sy$"i$4 -I for#ot my mantra.-. 6aul Simon (one of t"e ni$est #uys in t"e !orld.) 'lays a slea7y 5olly!ood 'rodu$er&ty'e !"o "as dinner !it" -Ja$% and An+eli$a- and tries to sedu$e Diane ,eaton a!ay from Allen !it" t"e 'romise of stardom. (Allen devotes an entire s$ene to a son# sun# by ,eaton.) Annie Hall is refres"in# be$ause it s"o!ed an astonis"in# lea' in $reativity e*'loration and $inemati$ $uriosity from Allen's 'revious film t"e very funny but flat Love and Death. 5e !ould $ontinue to #ro! t"rou#"out t"e 89's and :9's e*'erimentin# !it" styles stru$tures and $"ara$ters. ;nfortunately Annie Hall !as also t"e last movie before Allen be#an to e*'eriment !it" youn# !omen $"ara$ters !"i$" !ould be$ome an un$omfortable obsession bot" in "is movies and in real life. ("e $omfort t"at most fans e*'erien$ed #oin# to Allen films !ould slo!ly fade as "e started to be$ome a dirty old man. But Annie Hall is still vital refres"in# and above all funny. Allen !on <s$ars for Best Dire$tor and Best S$reen'lay and !as nominated for Best A$tor. 5e's not an a$tor of #reat ran#e but "e is a very funny a$$om'lis"ed $omedy a$tor. Annie Hall may be "is best 'erforman$e. (6i$ture t"e loo% on "is fa$e drivin# t"e $ar in t"e 3.A. s$enes.) ,eaton also !on for Best A$tress and t"e movie !on for Best 6i$ture (not a normal %ind of movie for an <s$ar !inner. <ne !ould "ave e*'e$ted =red >innemann's Julia to be t"e bi# !inner&&it !as more -serious- and -res'e$table-. But !"o !at$"es Julia today.)

Starring: Woody Allen Diane ,eaton (ony ?oberts 0arol ,ane 6aul Simon S"elley Duvall Si#ourney Weaver Written by: Woody Allen Mars"all Bri$%man Directed by: Woody Allen MPAA Rating: 6) Running Time: :4 minutes Date: July @A A::8 See also/ Anything Else Celebrity The Curse of the Jade Scorpion Deconstructing Harry Everyone Says I Love ou Manhattan Holly!ood Ending Husbands and "ives S#all Ti#e Croo$s S!eet and Lo!do!n The "oody Allen Collection %

Annie 5all (A:BB)

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Academy Awards -1978: Best Picture - !ar"es #$ %&''e Best Direct&r - W&&dy A""en Best Actress - Diane (eat&n Best Writing) Screen*"ay Written Direct"y '&r t!e Screen W&&dy A""en and Mars!a"" Bric+man

-3ife is full of loneliness misery sufferin# and un"a''iness & and it's all over mu$" too Cui$%ly - says Woody Allen at t"e be#innin# of Annie Hall& ("is $ould be a statement of t"e on#oin# t"eme of Allen's movies over a $areer t"at s'ans forty years and $ontinues a'a$e. It is also t"e %ind of line !e e*'e$t from Allen & funny and observant !it" t"at s'e$ial De! Eor% t!ist. De! Eor%ers use irony more t"an ot"er Ameri$ans. W"en De! Eor%ers ma%e a statement t"ere are #enerally no fe!er t"an t!o meanin#s $ontained at on$e and t"e listener is assumed to 'i$% u' on t"e multi'le meanin#s. (Sout"erners on t"e ot"er "and tend to say !"at t"ey t"in% you !ant to "ear and "o'e you !ill not %no! !"at t"ey are really t"in%in#. <ut "ere in sunny 0alifornia most 'eo'le deal only in one meanin# at a time if t"ere is meanin# to start !it".) 0V is not tryin# to mimi$ Woody Allen4 t"at !ould be more 'resum'tuous t"an even 0V dares to be. But t"ose lines !"ile t"ey $an be a$$used of oversim'lifi$ation and stereoty'in# "ave +ust enou#" trut" in t"em and +ust enou#" De! Eor% attitude to offer some fun and some insi#"t as !ell. Annie Hall' Allen's only film to !in t"e A$ademy a!ard for best 'i$ture starts out funny and never lets u' 'i$%in# u' on t"e sub+e$ts t"at Allen "as 'ursued re'eatedly over "is e*traordinary $areer/ se*ual dysfun$tion and t"e u's and do!ns of relations"i's !it" !omen t"e inse$urityFneurosisF'sy$"ot"era'y of t"e De! Eor% intelle$tual a#in# #uilt 'aranoia. If Annie Hall is t"e best of t"is #enre it is be$ause it is one of Allen's "a''ier films. ("e sufferin# is %e't li#"t t"e lau#"ter is not "eavily tainted !it" bitterness. ("e relations"i' of t"e "ero intelle$tual Je!is" $omedian Alvy Sin#er !it" #entile !"ite bread -neat- Annie 5all (Diane ,eaton & very youn# and fres" and deli$iously daffy "ere) allo!s for t"e amusement t"at arises out of t"e $onfli$t of t"eir $ultures and t"e deli#"t of t"e real roman$e t"ey find in ea$" ot"er's differen$es. Allen $leverly uses a variety of film te$"niCues en"an$in# "is $onsistently !itty dialo#ue as "e ma%es "is 'oints. 5e ste's out of $"ara$ter to s"are a t"ou#"t dire$tly !it" t"e audien$e. 5e ta%es us on a visit to "is $"ild"ood "ome !"ere t"e $ontem'orary fi#ures dialo#ue !it" t"e "istori$al ones. 5e uses s'lit s$reens to allo! intera$tion bet!een $"ara$ters !"o !ould not be intera$tin# in a realisti$ treatment but !"ose verbal inter'lay 'rovides still anot"er met"od to e*'lore meanin# by 'layin# off of differen$es. It is a tour de for$e t"at only t"e most s%illed !riterFfilmma%erF$omedian $ould 'ull off. ("ere may be ot"ers !"o $an do it but none !it" t"e vie!'oint t"e !it and t"e insi#"t t"at Allen brin#s to it !it" seemin# effortlessness and surely in t"e $ase of Annie Hall #reat +oy.