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12:30   2:40   4:50   7:00   9:30

Final Day - Tuesday, March 21

Directed by Woody Allen

Starring Woody Allen, Meryl Streep and Diane Keaton

Released as a new 4K digital print scanned from the original camera negative, Woody Allen's monochrome masterpiece is the first of the director's classic oeuvre to be made available digitally by Park Circus and MGM.

(1979) “Chapter One. He was as tough and romantic as the city he loved. Beneath his black-rimmed glasses was the coiled sexual power of a jungle cat. New York was his town, and it always would be…” Nervous time even for a Woody Allen character: thinking about moving from TV comedy writing to something more serious, he’s dumped by wife Meryl Streep for another woman – and she’s writing a book about their marriage. And then Diane Keaton sneers at his taste in art and trashes his film idol Ingmar Bergman – of course it’s love. Only trouble is, Keaton is seeing his married best friend Michael Murphy. While Woody himself has been dating high-schooler Mariel Hemingway, a relationship fine with her but rife with uneasiness for him. The one-liners keep coming amid the dissection of super-complicated relationships, but with a new seriousness, an awareness of the possibility of tragedy beyond mock angst that began with Annie Hall. Shot in ravishing black & white Scope by the great Gordon Willis (Annie Hall, all three Godfathers, etc.), and backed by an all-Gershwin score, this is one of the greatest odes to New York, with a final shot evocative of Chaplin’s City Lights. DCP Restoration. Approx 97 mins.


Buvette Gastrotheque, located at 42 Grove Street, has created a special "Woody” Manhattan for the run of the film: prepared with Whiskey Barrel Bitters aged in Wood, Rye, Sweet Vermouth, orange and cherries garné as inspired by Woody Allen's homage to the city. Guests who have seen the film at Film Forum may simply request a "Woody Manhattan”

 (212) 255-3590


“The city leaps out with caricatural precision even as Allen constructs it piecemeal from his own urbane aesthetic. Turning experience into art and vice versa, converting disappointed ideals into existential crises, Allen offers a nostalgic vision of New York that was utterly of its time and that remains as strong as its reality.”
– Richard Brody, The New Yorker

“Allen’s best film: the most grown-up, most technically accomplished, most securely pitched.”
– Foster Hirsch

“Woody Allen’s writing isn’t just persuasive; it cuts like a laser through the gorgeous black-and-white valentine he constructs to the city. His one-take scenes and ingenious tracking shots etch an indelible portrait of a community in slow decay and are no less breathtaking than Renoir’s Rules of the Game.”
– Neil LaBute

“I like to think that one hundred years from now, if people see the picture, they will learn something about what life is like in the 1970s.”
– Woody Allen

“WORLD-CLASS BLACK-AND WHITE CINEMATOGRAPHY! Manhattan fiddle[s] with a wide range of levels, roaming freely between the screwball experimentalism of Annie Hall’s sketch-autobiography and the considerably more subdued oceanfront tragedy that [Allen] made in the wake of his Oscar triumph… The shape-shifting city sets the tone for all that happens in it; it exerts an irresistible draw on our hero, never failing to provide the perfect background image, sidewalk cafe, or lunch counter to enable (but never to judge) his good and bad decisions.”
– Jaime M. Christley, Slant Magazine 

Film Forum