Product Details

• Actors: Woody Allen, Diane Keaton, Michael Murphy, Mariel Hemingway, Meryl Streep
• Directors: Woody Allen
• Producers: Charles H. Joffe, Rollins, Jack, Greenhut, Robert
• Format: Anamorphic, Black & White, Color, DVD, Widescreen, NTSC
• Language: English (Dolby Digital 2.0), Spanish (Dolby Digital 2.0)
• Subtitles: Spanish, French
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.85:1
• Number of discs: 1
• Rating: R (Restricted)
• Studio: MGM (Video & DVD)
• DVD Release Date: July 5, 2000
• Run Time: 96 minutes
• Average Customer Review: 4.6 out of 5 stars  See all reviews (120 customer reviews)
• ASIN: 0792846109
• Amazon.com Sales Rank: #8,700 in Movies & TV (See Bestsellers in Movies & TV)

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  #11 in	Movies & TV > Comedy > Comedy Stars > Woody Allen
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  #15 in	Movies & TV > Comedy > Comedy Stars > Diane Keaton

• For more information about "Manhattan" visit the Internet Movie Database (IMDb)

Editorial Reviews

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Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalog of Things that Make Life Worth Living. But Manhattan is also distinguished in the realm of home video as the first motion picture to be released only in a widescreen version. You wouldn't want to see it any other way. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more unsolvable, terrifying problems about the universe." It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favorite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvelous kind of negative capability.") The movie's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me," and "It's very important to have some kind of personal integrity." OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson

Product Description

Nominated for two Academy AwardsÂ(r)* in 1979 and considered "one of Allen's most enduring accomplishments" (Boxoffice), Manhattan is a wry, touching and finely rendered portrait of modern relationships against the backdrop of urban alienation. Sumptuously photographed in black and white (Allen's first film in that format) and accompanied by a magnificent Gershwin score, Woody Allen's aesthetic triumph is a "prismatic portrait of a time and a place that may be studied decades hence" (Time). 42-year-old Manhattan native Isaac Davis (Allen) has a job he hates, a seventeen-year-old girlfriend, Tracy (Mariel Hemingway), he doesn't love and a lesbian ex-wife, Jill (Meryl Streep), who's writing a tell-all book about their marriage and whom he'd like to strangle. But when he meets his best friend's sexy intellectual mistress, Mary (Diane Keaton), Isaac falls head over heels in lust! Leaving Tracy, bedding Mary and quitting his job are just the beginning of Isaac's quest for romance and fulfillment in a city where sex is as intimate as a handshakeandthe gateway to true love is a revolving door. *Supporting Actress (Hemingway); Original Screenplay

Customer Reviews

Most Helpful Customer Reviews

88 of 93 people found the following review helpful:

5.0 out of 5 stars Nearly 30 Years Later, Still Woody's True Masterpiece, November 14, 2001

By	David Kusumoto (San Diego, CA United States) - See all my reviews (REAL NAME)

In 1979, Woody had the burden of trying to capture the "originality" of "Annie Hall," the Oscar-winning Best Picture of 1977.

So when "Manhattan" was released, Woody's first "true" widescreen picture (so much so that Woody insisted this film NEVER be released on video or shown on television without the black bars on the top and bottom of the screen), I wasn't quite sure what to expect.

I discovered that "Manhattan" had a completely different tone than "Annie Hall." It was more serious, but still hilarious. I became so enraptured by its themes, its music and its atmosphere that I felt, until I saw "Schindler's List" in late 1993, that I had witnessed something that comes along only once or twice a generation...and that's true greatness on film. I paid to see "Manhattan" at least four times during its initial run in 1979. I had never done this before, even when I include those popcorn pictures I had seen several times put out by Spielberg and Lucas during the 1970s. I found "Manhattan" simply incredible, so "on the mark," so revelatory about the weaknesses of people, especially so-called "intelligent" people.

Rather than go over the plot, I believe "Manhattan's" themes include the following:

1. intellectualism is overrated
2. romance is illogical and unscientific
3. words don't always match our actions
4. moral structure is a man-made invention
5. fidelity is an optimistic ideal
6. skeletons in the closet are better left unsaid
7. uncorrupted optimism is mostly found in young people
8. cynicism increases as you grow old
9. advancing years = more unnecessary baggage
10. The more you know, the more it can hurt you

That all of the above can still be delivered with terrific humor is something only Woody Allen could accomplish.

There was a time when Woody's life imitated his art so closely that I had to avoid this SPECIFIC film for awhile. But now the past is past and it doesn't matter. Woody's art remains and the messages in "Manhattan" haven't been diminished after so many years. It still holds up even though it was made during the late 1970s.

Yes, Woody Allen's films are an acquired taste. People won't admit it, but when you pin down WHY they don't like "Manhattan" or anything he does, you find the reasons are rooted in conventional moral judgments, religious intolerance or even genetic issues such as his "whiny" voice and the fact he is one of the most un-photogenic actor-director-writers of our time (e.g., no one likes watching Woody "kiss" any woman on screen.)

And when art becomes too closely reflective of an artist's life, it can make people uncomfortable. My response is if you are unable to separate an artist's personal life or lifestyle from his work, sometimes the world can be made the lesser for it.

"Manhattan" and "Annie Hall" remain the benchmarks of all urban-based, non-screwball comedies made in America. That Woody was able to "re-invent," or more to the point -- to "invent" a new genre of comedy -- is more evident today by looking at everything that has come since 1979 that is clearly derivative from these two landmark urban films.

Only elitist thinkers will call people who don't "get" this film "fools." They're not. Admittedly, Woody's films are an acquired taste. Fans who have followed him forever, quite candidly, like the way he is on screen, even if it's the same nebbish, over-analytical character every time. We're comfortable with him in the same and opposite way that we didn't mind Cary Grant playing Cary Grant all of the time. Nobody delivers a punch line or joke better than Woody and when he's not in his own films, they don't seem as funny.

"Manhattan," in my opinion, is the finest of Woody's "quartet" of masterpieces (the others are "Annie Hall, Hannah and Her Sisters" and "Crimes and Misdemeanors"). There is so much hilarity and truth woven into this picture, complimented by a glorious Gershwin score and wonderful black and white cinematography, that I'm 100 percent sure -- that Woody will never be able to top this film -- even if he lives to 100.

The end "smirk" on his face speaks volumes about what's going on in this story, and why, unlike most of Hollywood's "mainstream" comedies, he won't give you the standard cornball ending.

Yet what he leaves behind as the credits roll, still leaves you satisfied. There isn't anything left hanging, in my mind, since you already know that Woody's character KNOWS how everything is going to end. That's the reason for the "smirk."

How many filmmakers can get away with this and stay original?

This is Woody's greatest film and it remains undated after almost 30 years...

25 of 27 people found the following review helpful:

5.0 out of 5 stars AFI 's Love Stories #66: Manhattan, October 6, 2002

By	Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota) - See all my reviews (TOP 10 REVIEWER)    (COMMUNITY FORUM 04)

When Woody Allen won the Oscar (in abstentia) for writing and directing "Annie Hall," which also won the Oscar for Best Picture, it was assumed the stand-up comic turned auteur had reached the pinnacle of his career. Then Allen proceeded to go out and make an even better film with his next effort, "Manhattan." Filmed in glorious black & white (and widescreen) by the great cinematographer Gordon Willis, the opening sequence combining indelible images of New York City with Gershwin's "Rhapsody in Blue" is a paean to city Allen loves and the most rhapsodical sequence in any of his films.

Rather than talking about the plot per se, "Manhattan" is best explained as a convoluted series of wrecked and ruined relationships centering around Allen's character, Isaac Davis. Isaac is divorced from Jill (Meryl Streep), who is now living with Connie (Karen Ludwig), and planning to write an expose on her marriage. Isaac is having an affair with 17-year-old Tracy (Mariel Hemingway), but then he meets Mary (Diane Keaton), the mistress of his best friend Yale (Michael Murphy), who is married to Emily (Anne Byrne). Ultimately, however, this is not a film about love, but rather a film about loss, because you just know that forced to make choices, Isaac is going to make the wrong ones. Tracy and Mary are characters constructed as such polar opposites and it never dawns on Isaac to focus more on what each has than on what they lack.

Of course, today this film is obviously open to reinterpretation given Allen's very public personal life and it is now assumed that the Isaac-Tracy relationship was a sign of things to come rather than a dramatic construction. If you can get away from the film's Freudian implications then you can appreciate Hemingway's Oscar nominated performance, which is not only at the heart of the film but provides its heart as well. In contrast, Keaton's Mary is rather soulless (the anti-Annie Hall if you will). When the choice is so clear the fault is clearly not in the women, but rather in the character of Isaac (or lack of character, as the case might be). The ending is certainly the most bitter sweet of any Allen film to date.

Most Romantic Lines (remember, this is a Woody Allen film): (1) "I think people should mate for life, like pigeons or Catholics"; (2) "Yeah! I can tell, a lot. That's, well, a lot is my favorite number", and, of course, (3) "Why is life worth living? It's a very good question. Um...Well, There are certain things I guess that make it worthwhile. uh...Like what... okay...um...For me, uh... ooh... I would say ... what, Groucho Marx, to name one thing... uh...um... and Willie Mays... and um ... the 2nd movement of the Jupiter Symphony ... and um... Louis Armstrong, recording of Potato Head Blues ... um ... Swedish movies, naturally ... Sentimental Education by Flaubert ... uh... Marlon Brando, Frank Sinatra ... um ... those incredible Apples and Pears by Cezanne... uh...the crabs at Sam Wo's... uh... Tracy's face ..."

If you enjoyed "Manhattan" then check out these other films on the AFI's list of 100 Greatest Love Stories of All Time: #11 "Annie Hall," #25 "When Harry Met Sally," and #35 "Gigi." Why? The first because it is also Woody Allen, the second because it also takes place in NYC and involves making the wrong choice and then running to the woman to do something about it, and the third because it also thanks heaven for little girls...

19 of 20 people found the following review helpful:

5.0 out of 5 stars Magical, dreamy, spectacular, perfect, May 17, 2000

By A Customer

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This review is from: Manhattan [VHS] (VHS Tape)

No matter how many times I watch this piece of heavan, I still get teary at the line "you gotta have a little faith in people..." This is a movie with so much beauty and depth, humor and poignant romanticism. I can even accept Issac's (Woody Allen) older man/young girl romance ( and usually I am annoyed by the prevalance of this type of pairing in so many movies ) because to me ,the endearing Tracy, (Mariel Hemingway so SO wonderful here) represents the tender spirit of love, the open heart that simply feels what it feels. She is the point on which the movie pivots, with her sweet goodness and simple message of emotional purity in contrast to the over analysis the other older characters give love. There are so many levels on which to appreciate this movie. I could try to analyze it in words (as Woody and his complex, terrific cast of characters analyze their lives and loves...) but instead, I have to just tell you all with FEELING: Visit this film, the magical, dreamy, spectacular, perfect place...Manhattan.