The victory marked the beginning of a great directorial career for Woody Allen (his previous work was interesting but lacking in depth), and marked the end of the golden age of the New Wave in American cinema in the late 1970s. "Star Wars" heralds the arrival of the blockbuster era, and such a maverick, witty and humorous movie will be kicked out by a tens of millions of box office bombs. "Annie Hall" grossed $40 million -- the last of all recent Oscars, and the lowest investment. "Annie Hall" was directed by Woody Allen who wrote, directed and acted. "Annie Hall" is not about jokes, but about the contradictions and weaknesses of human nature. It is not just a comedy movie , but also a film about the concept of love. In the movie, many scenes are presented in a relaxed way, which is kind and natural, just like the scenes of life around the audience.
"Annie Hall" is an ordinary love story, but with Woody Allen's masterful craftsmanship, unique narrative and camera skills make ordinary stories deep and great. It is also a humorous satirical comedy. Woody Allen in the film is self-righteous and thinks that the world is only right by himself. In the film, his nervous, insecure and contradictory character is exactly the portrayal of the little intellectuals of that era. Woody Allen's incessant dialogue and monologues are the essence of the film.
Rewatching it 25 years after watching its premiere in April 1977, I was struck by how familiar the film was. Some of the lines have been turned into colloquialisms, and together with the famous "chicken salad" in Jack Nicholson's "The Voyager", it has made countless people who have not seen the movie familiar. Ivy Singer, Woody Allen's comedy skit writer/performer, is the template for many of his other film roles -- neurotic, wisecracking, and whiny, and one unease about sex is not as good as "love has." What does it mean?” skeptical romantics. Diane Keaton's Annie Hall also set the bar for many of Woody Allen's on-screen girlfriends: beautiful, smart, deserted, younger, and often love-turned-rage. Woody Allen's female characters tend to hold their breath, but they usually go wild at the end of the film. Ivy Singer, like many of Woody Allen's characters and himself, provides live commentary on everyday life. He lives to talk about life. His inner monologue is more than just an analysis of the comments - after his first sex with Anne, exhausted and empty, he said: "As Balzac said, another book has been turned over."
Ivey is way above the IQ threshold that Hollywood currently allows. Watching movies that have been creative lately, you'll get a faint sense of the censorship that's imperceptible, eliminating all topics that might be unfamiliar to the audience. Such rules lead to characters being driven by plot rather than ideas, and they are used to using hilarious language rather than wit. Recall the famous scene where Annie and Ivey lined up at the theater and the cowboy behind him talked about Federico Fellini like a national leader. When the big brother turned the bullshit on to Marshall McLuhan, Ivey couldn't take it anymore, confronted him, and ostentatiously removed Marshall McLuhan himself from a film show. A stern warning from the back of the card: "You don't know anything about my work!" would be cut in half today - audiences are assumed to have never heard of Federico Fellini or Marshall Mack Luhan. "Annie Hall" is paved with similar dialogue throughout, and concentrates its strength on dialogue and monologue. Maybe because it's "Best of Woody Allen" for most people, because it won an Oscar, because it's a romantic comedy, and a lot of people don't notice how many people are talking in it, just talking and nothing else .
They stand and talk, sit and talk, talk to a psychiatrist/eat a restaurant/have sex - and when they hit the camera, it becomes a wonderful monologue - like when Annie and Ivey describe her family "Free Association" (Annotation, one of the methods of psychoanalysis). Diane Keaton's monologue is perfect, culminating in the ending with a memory of a narcolepsy uncle who died in line to lead the turkey. This shot is done in a highly tense atmosphere, and Diane Keaton (or Annie) is always on the verge of collapse. Because "Annie Hall" is so fast-paced and never cold, it's hard to feel that many of the shots are actually long. Woody Allen is famously fond of main shots that include all the actors, rather than front and back dialogue cuts. In a stellar article in the Spring 2002 issue of Film Quarterly, David Bodway points out that Woody Allen's "Average Shot Length" (ASL): "Manhattan" is 22 seconds, while "Not Powerful" Aphrodisiac is 35.5 seconds. David Bodway told me that Annie Hall's ASL was 14.4 seconds (he said several other 1977 films had 4 to 7 seconds.) For comparison. The ASL of "Peerless Tribulation" came to 2.3 seconds, so fast that there was no place for clever dialogue. The film uses several techniques such as storyboards, double exposure, where the characters speak directly to the camera (breaking the "fourth wall"), subtitles revealing what the characters are really thinking (contradicting the dialogue) and magic realism element. For example, Woody Allen's character and Annie are in line at the theater and hear someone in the back talking about Marshall McLuhan's work, so Woody Allen leaves the line and walks to the camera to give his opinion directly to the camera . The man in the back also walked up to the camera to defend his opinion, and to fight for equality, Woody Allen then pulled Marshall McLuhan himself from behind the counter to tell the man that his understanding was wrong . Another scene featured cartoonized Woody Allen and Snow White's witch in an animated scene. Ivey and Annie tacitly have a soft spot for "language shows"; it's not Pheromone that connects them, it's the fun stuff. When they first met on the tennis court, their first "Conversation Tennis Tournament" went like this:
Annie: "Oh come on, I have a car."
Ivy: "You have a car? I don't understand, why do you have to ask "Do you have a car?" "Like you want a ride."
Annie: "I don't, I don't, gosh, I don't know. I don't...that's my VW. (to myself) 'Damn, shit.' Do you want a ride? ? "
Ivy:" of course, where are you going? "
Annie:" Oh my, the next city "?.
Ivy:." ...... I went down on the city, "
Annie:" Oh ...... I do not know I have to go Uptown."
Ivy: "You just said you were going downtown."
Annie: "Yeah, ah, but I can."
This is not a simple dialogue, this is a self-created counterpart in progress. The more you listen to Annie and Ivey talk, the more you wonder if they can find someone else who can follow her own thinking - example: when Ivey expresses her resistance to Annie moving in, she complains about her small house, water pipes It's always bad, and there are many bugs - at this time, only Ivey will immediately recognize the sensitive word "bug" and predict that "entomology is a rapidly developing subject." And only Annie will interpret this as "you don't want to I'm moving here."
Ivey: "I don't want you to move here? Who said that?"
Annie: "I said it."
Ivey: "Yes, you said it. I agree now."
Ivey, of course, has had other women...including a Rolling Stone reporter, a member of the Rosicrucian society. (Ivey: I can't follow the religion I advertised in Popular Mechanics.) And the liberal Democrats, Ivey divorced over disagreements over whether there was a second shooter in the Kennedy assassination. It can be seen that Anne Hall is the best lover he has ever had - this is obvious at a glance: and the whole film starts from his opening monologue in which he recalls the situation of falling in love a year ago, and analyzes the reasons for the end of love in flashbacks. His answer to this was that he had found happiness at the time, but he did not know how to accept it. Groucho's joke "is a high-level summary of my adult life—especially my relationships with women." A behind-the-scenes look at Annie Hall's entry on imdb.com writes about Day, who was living with Woody Allen at the time of the filming Ann Keaton's real name is Diane Hall, and her nickname is - Annie. The original murder sub-line of the film was completely discarded, and the rough cut 140 film was finally reduced to 95 minutes now, all of which are in Lang. It's described in Rosenbloom's book "At the End of the Shoot". Now the final cut makes me feel like this arrangement is not only seamless, it's a miracle - —Imagine the disorientation they might present. Consider Woody’s jaw-dropping visual choreography—including two characters split-screen talking to each other; a bedroom scene where Annie is so bored as to be “out-of-body” during sex; autobiographical flashbacks; subtitles to show what the characters really think; children talking to little adults ("I'm reselling furs."); dialogue between Woody Allen and the witch in Snow White; and Woody Allen directly facing the camera, and the audience dialogue.
This is a movie that relies on changing the tone constantly to find the sense of language. The constant transformation reflects the constant jumping of ideas of the film creators, constantly breaking away from the theme and seeking the best angle to shake the burden. The protagonist of "Annie Hall" is a perfectionist man who can turn the most boring things into jokes, but wants to lose that ability. This is a typical Woody Allen-style high-IQ comedy, because Alvey in the film is somewhat similar to Woody Allen's experience, and is also based on the feelings of the hero and heroine. A semi-autobiographical film by Woody Allen. While the film is about a big-city, unconventional love story, it's beautifully shot by Woody Allen and has deep meaning. At the beginning of the filming, Woody Allen originally wanted to shoot a film with murder as the main line and comedy and romance as the sub-line, but under the persuasion of the producer, he made the film into a pure comedy. Later, Woody Allen's wish came true in 1993's "Murder Mystery in Manhattan", and also collaborated with Diane Keaton. In addition, some supporting roles in the film such as Anne's brother Christopher Walken, Hindu mentor Jeff Goldblum in the role of Beverly D'Angelo, Anne Hall's ex-boyfriend John Actors such as Glover later became famous. Diane Keaton dresses weirdly in the film, and her dress set off a frenzy at the time. In the film, she likes men's clothing, whether it is ties, vests, slacks and fedoras, she loves it all. After the release of the film, menswear became fashionable for women, with most of her clothing in the film being her own, and Diane Keaton soon became known for her love of menswear. In particular, she added a tie (brand name Ralph Lauren) on the layered method to become a fashionable dress that people are eager to imitate.
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