Manhattan

Name: Manhattan
Genre: Drama, Comedy, Romance
Released: March 14, 1979
Duration: 96 min
Rating: 83
Cast: Diane Keaton, Mariel Hemingway, Woody Allen

1979

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Universal acclaim based on 10 Critic Reviews

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USER SCORE

Universal acclaim based on 123 Ratings

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8.2

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8.2	User Score Universal acclaim based on 123 Ratings

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Manhattan

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Movie Details & Credits

United Artists | Release Date: March 14, 1979 | R

Starring: Diane Keaton, Mariel Hemingway, Woody Allen

Summary: Manhattan is an extraordinary and funny film that explores the embattled life and loves of a successful New York comedy writer. [MGM]

Director: Woody Allen

Genre(s): Drama, Comedy, Romance

Rating: R

Runtime: 96 min

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Critic Reviews

100

Staff (Not Credited)

Deft comedy set in a neurotic town. People may argue about the relative merits of Annie Hall vis-a-vis Manhattan, which is a better and more fully realized film. By this time Allen had forsworn the glib one-liner and spent more time developing well-rounded characters. Read full review

100

James Berardinelli

If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the "average" entry into the genre makes it an extraordinary example of the fusion of entertainment and art. This is Allen in peak form, deftly mastering and combining the diverse threads of romance, drama, and comedy - and all against a black-and-white backdrop that makes us wonder why color is such a coveted characteristic in modern motion pictures. Read full review

100

David Parkinson

One of Woody's most aesthetically gorgeous films as well as his classic love-hate letter to the city of his soul. Read full review

Jay Scott

Never before has Allen been able to integrate comedy and pathos as deftly as he does in Manhattan. [28 Apr 1979, p. 17]

Roger Ebert

this is a very good movie. Woody Allen is ... Woody, sublimely. Diane Keaton gives us a fresh and nicely edged New York intellectual. And Mariel Hemingway deserves some kind of special award for what's in some ways the most difficult role in the film. Read full review

Julie Salamon

With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]

Dave Kehr

The script is funny and observant, full of shocks of recognition, but for all his progress as a writer, Allen's direction remains disconcertingly amateurish. Still, it remains perhaps the only film in which Allen has been able to successfully imagine a personality other than his own. Read full review

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User Reviews

Phil_Chatzikos

Jan 19, 2012

Maybe Allen's best movie ever, the black-and-white Manhattan is an incredible study on the human relationships presented with a romantic, funny way. Rhapsody in blue is just amazing as the background of the beautiful, yet bittersweet picture of New York that we get here. The movie is about aMaybe Allen's best movie ever, the black-and-white Manhattan is an incredible study on the human relationships presented with a romantic, funny way. Rhapsody in blue is just amazing as the background of the beautiful, yet bittersweet picture of New York that we get here. The movie is about a 42 year old man, who has a relationship with a 17 year old girl and falls in love with his friend's ex-mistress. But is much more than this. It's a movie about you and me. An ode to the simplicity and the complex of our relationships .… Expand

0 of 0 users found this helpful00

MovieGuys

Jun 30, 2014

"Manhattan" is Woody Allen's best movie so far, right up there next to Annie Hall. The film is an in-depth character study about relationships in the greatest city on Earth and how people affect each other. The movie is convincing with its amazing acting, wonderful story, and almost flawless"Manhattan" is Woody Allen's best movie so far, right up there next to Annie Hall. The film is an in-depth character study about relationships in the greatest city on Earth and how people affect each other. The movie is convincing with its amazing acting, wonderful story, and almost flawless screenplay. Woody gives his character such quirk and self conceit that you can't help but feel sorry for the poor man.… Expand

0 of 0 users found this helpful00

van645

Jan 29, 2014

Manhattan is my favorite movie ever. Every aspect of the movie is spot on: the script, directing, acting, cinematography, etc. It stays grounded but still is dramatic and interesting.

1 of 1 users found this helpful10

JGLman

Jul 1, 2011

This movie was simply fantastic. Another job well done Mr. Woody Allen. Woody Allen's character was so likable. You begin to really become attached to each character throughout the movie. It gets to where you don't want the characters to get hurt and you only want good things to happen toThis movie was simply fantastic. Another job well done Mr. Woody Allen. Woody Allen's character was so likable. You begin to really become attached to each character throughout the movie. It gets to where you don't want the characters to get hurt and you only want good things to happen to each character. Everything that occurs that is morally wrong you, of course, hope that everything fixes itself or gets fixed. This movie ties two things together very well, comedy and love. I highly recommend it.… Expand

0 of 0 users found this helpful00

beingryanjude

Sep 1, 2014

A timeless romance for the ages! Manhattan has grown to become one of Woody Allen's early greats and for good reason. Diane Keaton is sharp as ever alongside former-partner Woody Allen in this smart romantic drama. Meryl Streep shows promise in an early-career role.

0 of 0 users found this helpful00

lasttimeisaw

Nov 27, 2012

The opening shots of MIDNIGHT IN PARIS (2011, 6/10) can easily hark back to this Black & White paean to New York made more than three decades age, with the same deployment of representative landmarks (although I have yet set my foot on America). The storyline may suit perfectly as a prophesyThe opening shots of MIDNIGHT IN PARIS (2011, 6/10) can easily hark back to this Black & White paean to New York made more than three decades age, with the same deployment of representative landmarks (although I have yet set my foot on America). The storyline may suit perfectly as a prophesy for Allen his own private life decades later, to which I am trying my best shun away since the independence of the film should be irrelevant of the creator's personal idiosyncrasy, which is a hard call in this case. It's a petit bourgeois melodrama, could be a sequel of ANNE HALL (1977, 9/10), there is still Allen and Keaton, and Allen is still a neurotic and nagging cipher, but Keaton here is not a winning scatterbrain, instead being characterized as a high-strung lost cause, which in a sense, these two are very much alike, pretending sophisticate as a charade to conceal their immature rationality. Words are Allen's strongest weapon, so albeit being a bit piqued by the characters (pretentiousness, stupidity and high-brow condescending), the script itself has its shrewdness and comedic tones will suffice to launch an ambiguous attachment towards our commonplace life. The … Expand

0 of 0 users found this helpful00

Broyax

Jan 10, 2017

Revoilà Droopy, revoilà Caliméro qui a repris quelques amphètes et/ou sniffé quelques rails et qui se met à soûler tout le monde, à blablater comme un détraqué, comme le pauvre gars névropathe qu'il est depuis toujours.

Il se prend pas pour de la merde le peigne-cul (il doit viser Cannes etRevoilà Droopy, revoilà Caliméro qui a repris quelques amphètes et/ou sniffé quelques rails et qui se met à soûler tout le monde, à blablater comme un détraqué, comme le pauvre gars névropathe qu'il est depuis toujours.

Il se prend pas pour de la merde le peigne-cul (il doit viser Cannes et son festival de balais dans le fondement -plusieurs à la fois) il tourne carrément en noir et blanc parce que le noir et blanc, c'est comme se racheter une conduite pour un taulard : on vous prend pour un "artiste". Forcément. Mais pourquoi le "noir et blanc" ? s'interroge Télérama. Vous croyez qu'il y a un message (caché) là-dessous ?

Le siphonné de la parlote Woody Woodpecker dans son inépuisable logorrhée déblatère que se taper une jeune plante de 17 balais, c'est -finalement- un bon plan et incontestablement plus sympa que de rester avec cette rombière de Diane Keaton, même si elle ne porte pas de soutif (une féministe...). De toute façon, on s'en fout, ce qui compte, c'est d'en parler avec ses amis, ses ex, ses futures, son public (Positif a adoré) et à sa ville de cubes en béton.

On sent que Caliméro Droopy n'a pas fini de nous faire chier : le pleurnichard binoclard est comme Terminator : impossible à arrêter. Et il ne la ferme jamais.… Expand

0 of 0 users found this helpful00

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