Woody Works Wonders, Again (Press, 7 April 1980)

On 7 April 1980, a review of Woody Allen's film "Manhattan," showcased at the Westend cinema, highlighted the film's unique use of black and white cinematography, a deliberate choice by Allen during an era dominated by colour films. This stylistic decision, reminiscent of his earlier work in “What’s Up, Tiger Lily?”, was noted as a courageous move that ultimately succeeded, with the film featuring beautifully captured scenes of New York City supported by George Gershwin's memorable music, including pieces like “Rhapsody in Blue.” The review described "Manhattan" as a progression in Allen's film-making style, following his previous films “Interiors” and the successful “Annie Hall.” Unlike the more sterile tone of “Interiors,” “Manhattan” retained the blend of eccentricity and seriousness that defined Allen's character and narrative voice. The film stars Allen as Isaac Davis, who, in contrast to his typically loveable portrayals, encounters a more complex character journey. He navigates relationships with a 17-year-old high school student, played by Mariel Hemingway, and Diane Keaton’s character, despite the latter being less youthful. As the plot develops, Isaac’s age gap with the teen becomes a point of reflection. Allen’s character laments, "I'm older than her father," leading to a comedic yet uncomfortable realisation. After transitioning from his relationship with the younger character to Diane, he finds himself heartbroken and attempts to reconcile with Hemingway’s character. The review commended Hemingway's performance, particularly a poignant scene at a soda fountain that showcased her emotional depth. Additionally, Meryl Streep makes a brief appearance as Allen's character's ex-wife, which was noted with interest due to her upcoming role in "Kramer vs. Kramer," a film that delves into custody battles following separation. The review pointed out the irony in her dual performances, highlighting the interconnectedness of themes in contemporary cinema. The critique concluded by recognising Woody Allen's emergence as a significant director within the film industry, placing him alongside celebrated European filmmakers such as Renoir, Truffaut, Fellini, and Bergman. However, it also cautioned against prematurely bestowing such accolades, suggesting a wait-and-see approach regarding his future projects. Overall, anticipation was expressed for Allen's next film, implying a good expectation based on the quality of “Manhattan.”

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