Regie:
Woody AllenKamera:
Gordon WillisBesetzung:
Woody Allen, Diane Keaton, Michael Murphy, Mariel Hemingway, Meryl Streep, Tisa Farrow, Gary Weis, Karen Allen, David Rasche, Wallace Shawn (mehr)Streaming (4)
Inhalte(1)
Isaac Davis, Autor erfolgreicher Fernsehkomödien, quittiert mit 43 Jahren seinen Job. Endlich will er einen Roman über die Menschen in New York schreiben. Ebenso hektisch, wie vergeblich versucht er indes seiner Frau Jill die Veröffentlichung ihres Buches auszureden: Detailgetreu berichtet sie darin über die gescheiterte Ehe der beiden. (ORF)
(mehr)Kritiken (8)
In short, typical Allen. A film seemingly about nothing, and noticeably weaker and less entertaining than the similarly focused Annie Hall, but so good and relaxing to watch nonetheless. A caress to the soul in the form of a charming black-and-white production design, excellent background music, incredibly real and funny dialogues and above all likeable actors. For New Yorkers, this must be very close to the heart. 80%
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Manhattan bringt das Publikum nicht zum Lachen und es handelt sich auch um kein spannendes Beziehungsdrama wie das Beste von Woody. Er streichelt jedoch die Seele mit einem gemütlichen und ungezwungenen Verlauf, mit einer schwarzweißen Bildästhetik und einer fantastischen Stimmung von dem Ort und der Zeit. Und er wird durch den Dialog am Ende geistreich abgeschlossen. Ein Film wie Jazz.
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Dieser Film ist nicht besser als die beiden besten Werke von Allen, die ich bisher gesehen habe (d. h. Der Stadtneurotiker und Zelig). Er ist aber trotzdem sehr gut. Bei Manhattan hatte ich keine Lachanfälle und ich fand ihn auch nicht besonders rührend. Er kam mir eher sehr authentisch und glaubhaft vor. Obwohl ich diese Phrase nicht mag, muss ich sie jetzt wieder verwenden – er ist wie aus dem Leben gegriffen. Außer vielen unwiderstehlichen Dialogen enthält er eine schöne Szene im Planetarium und eine wunderschöne Liebeserklärung: Du bist wie Gottes Antwort an Hiob. Er würde sagen: Ja, ich tue schreckliche Dinge, ich mache aber auch solche Mädchen. Vier und ein Stück.
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Manhattan hat bei mir keine Lachsalven ausgelöst, sondern mich mit seinem hochintellektuellen und anspruchsvollen Drehbuch beeindruckt, bei dem ich paradoxerweise einen Großteil der Dialoge überhaupt nicht verstanden habe. Die Handlung ist weder kompliziert noch unorthodox, es ist einfach eine Geschichte aus dem Leben. Die Besetzung war wirklich perfekt, vor allem Diane Keaton und Mariel Hemingway. Ich mochte den musikalischen Aspekt, der mich sehr an das Umfeld von Salons und Vergnügungsstätten in der ersten Hälfte des 20. Jahrhunderts erinnerte. Ein typisch gesprächiger Woody Allen, der zwar nicht verblüfft oder das Zwerchfell vor Lachen zerreißt, aber dennoch fesselt und ein Lächeln auf das Gesicht zaubert.
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First, Woody Allen clumsily picked the mistress in the form of a 17-year-old masculine woman, who looks more like a boy from a cornfield than like an underage girl from Manhattan, and then he decided to bombard me with a few unrelated texts, which were actually supposed to make sense in the context of his way of life. The result is such that I actually found out that in Manhattan at the end of the 1970s they had tap water as rusty as the freshest beer from a local tavern and that girls sought out boys who could talk about art for 20 minutes straight in an ostentatiously dull manner. An interesting movie, but I cannot say that it impressed me all that much.
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You're happy, you lack nothing, everything is fine. And suddenly someone appears who shows you that you could be even happier and you wonder how you managed to live without them until now. Eventually, a person takes a step in one direction or another, but – something always appears anyway. The purest dose of pure romance, experiences, anti-snobbery, ironically exaggerated conversations about art, and Woody Allen's best performance, scriptwriting, and directing. I recognized myself in so many places, smiled and grew sad. I have seen scenes that seemed to come from my ideas of ideal partnership or my future. And one day, I will find myself completely in Manhattan.
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Manhattan is considered by film critics as one of the most important and highest-quality films by Allen, but to be honest, it didn't impress me as much for a simple reason. It concentrates on all the main and favorite motifs of Allen's work - emotionally unstable intellectuals, the city of New York, favorite music, criticism of intellectual snobbery, loneliness, unfulfilled romantic desires, and nostalgia. Because I saw Manhattan later than many of Woody's other films (and there were quite a few of them due to his overproduction), those previous films played a more significant role for me. Not to mention that I appreciate the much more comedic early Allen or the late experimenting version of him. In Manhattan, there are certainly classic Allen slapstick tones, but the motif of sadness and nostalgia is much stronger in the form when family relationships were far more understandable and stronger, divorces and custody battles were exceptional, and people were closer to each other. Of the two fateful women in Woody Allen's life, I like Diane Keaton much more than Mia Farrow, but even that didn't get Allen a fourth star this time, even though everyone in the film delivers honest acting work. Finally, the greatest impression is made by the black-and-white cinematography and the dreamlike photographic scenes of the nocturnal panorama of Manhattan and the most famous New York architectural wonders, as well as similarly shot scenes of the connection between the two tragic protagonists of this sad love story. Overall impression: 65%.
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Woody Allen in fine form, but it's almost annoying how fixated he is on New York and its beauty. It's almost propaganda in places. But his dialogues flow like poetry, they're appropriately punchy, and thanks to him, they're delivered absolutely brilliantly. Some of his lines you just can't make up. Using black and white was definitely an interesting step.
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