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Manhattan

1979

Woody Allen

Woody Allen, Diane Keaton, Mariel Hemingway, Michael Murphy ...

8.1

55,305

Comedy. Drama. Romance Isaac’s sentimental life isn’t perfect. His ex-wife is writing a book revealing the couple’s intimacies. Although he’s dating Tracy, a student much younger than himself, he has started to really like his best friend’s mistress, Mary. His is yet another of the little tragicomedies occurring in a black and white New York moving to the beat of George Gershwin’s music.

	Media	Author	Review
		Vincent Canby The New York Times	"Extraordinarily fine and funny (...) In addition to being the director and co-author — with Marshall Brickman — of the film, Mr. Allen is its most important presence."
		Roger Ebert rogerebert.com	"This is a very good movie. Woody Allen is ... Woody, sublimely (…) Rating: ★★★½ (out of 4)"
		Jaime N. Christley Slant	"[It] captures the city's infinite variety of faces deftly, paying homage not only to the Big Apple's most notable appearances in still photography, but in the black-and-white films of Allen's youth (…) Rating: ★★★½ (out of 4)"
		Philip French The Guardian	"Almost every line is funny but never forced, and the film is edited and orchestrated to some 13 George Gershwin songs that link, begin or end beautifully edited sequences and comment on them."
		Meghan Daum Los Angeles Times	"Allen's efforts to poke fun at the pretensions of urban intellectuals were far less subtle than I'd remembered (...) This was not a movie for adults but for precocious teenagers."
		David Parkinson Empire	"One of Woody's most aesthetically gorgeous films as well as his classic love-hate letter to the city of his soul (…) Rating: ★★★★★ (out of 5)"
		Dave Calhoun Time Out	"[Allen] crafts a successful marriage between his own brand of self-aware comedy, a Bergman-esque concern for the pain of relationships, the elegiac music of Gershwin and Gordon Willis’ monumental photography of the city."
		Noel Murray AV Club	"One of the movie’s most remarkable qualities is the way the 'classic' look of Gordon Willis’ black-and-white cinematography plays against a New York that looks very much like the America of 1978 and 1979"

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