ANNIE HALL & MANHATTAN
Sunday, February 3
(1977, Woody Allen) “Annie and I broke up, and I still can’t get my mind around that,” admits Woody Allen’s stand up comic Alvy Singer, and while Diane Keaton’s Annie stammers, stops and starts, laughs nervously, and lah-dee-dahs, he looks back on his difficulties with women, addressing the camera in the midst of a scene, standing in the background of moments of his and Keaton’s past, while administering the ultimate putdown to a movie line pontificator, watching The Sorrow and the Pity three times, and getting relationship advice from both pal Tony Roberts and passersby. Allen’s critical breakthrough achieves real poignance and feeling amidst the hilarity, and an elegant visual style in his first collaboration with the great cameraman Gordon Willis (The Godfather). Oscars for Best Picture, Director, actress, and screenplay, plus Woody’s only acting nomination. 35mm. Approx. 93 min.
(1979, Woody Allen) “I think people should mate for life, like pigeons or Catholics.” Dumped by wife Meryl Streep for another woman, Woody Allen now dates high-schooler Mariel Hemingway – but pal Michael Murphy’s mistress Diane Keaton sure looks good. “A masterpiece that has become a film for the ages by not seeking to be a film of the moment” – Andrew Sarris. 35mm. Approx. 96 min.