Manhattan (1979)

The review hails Manhattan as one of Woody Allen's most aesthetically gorgeous and personal films, a classic love-hate letter to New York. It singles out the sublime Gershwin score and Gordon Willis's monochrome cinematography for particular praise.

The critic praises Allen's mature balance of humor and form in this New York romantic comedy, highlighting the sharp script, relaxed ensemble performances (especially Mariel Hemingway), and Gordon Willis's luminous black-and-white cinematography that unifies the episodic narrative.

The critic finds Woody Allen’s 1979 middle-period masterpiece still compelling and addictively watchable nearly four decades on, with its big scenes and performances alongside low-key gems. He singles out the inspired use of Gershwin on the soundtrack and Mariel Hemingway’s honest, authentic performance as the standout element.

The review calls it possibly Woody Allen's greatest film, praising its superlatively funny screenplay, lustrous monochrome photography by Gordon Willis, and the George Gershwin score. It highlights stand-out performances, especially by Allen, Diane Keaton and Mariel Hemingway.

Gilliatt calls the film an intelligently hilarious fable about Manhattan as a city of smooth rides and riches, love and betrayal, praising its black-and-white look, Gershwin score, specific evocation of Jewish intellectualism, and Allen's comic majesty and devotedness to the city and its references.

The critic praises the film's grayscale romantic melodrama and Gordon Willis's masterful black-and-white cinematography as a perfect match for its themes of marital and amorous discord. Willis's too-dark lensing and the city's varied backdrops provide subtle commentary on the emotionally arrested characters' romantic entanglements.

The review declares Allen on top form as actor and director in this 1979 comedy, in many ways better than Annie Hall with more rounded characters. It praises the Gershwin music and Gordon Willis's black-and-white cinematography.

Ebert finds it a very good movie overall, with sublime Woody Allen performance, fresh Diane Keaton as a New York intellectual, and strong work from Mariel Hemingway, but criticizes the shift to seriousness in the final third, especially the ending scene with Hemingway and underdeveloped elements involving Michael Murphy's character.

The review describes Allen using New York as backdrop for neurotic urban over-achievers and their premature-ending relationships, while celebrating how the film captures the inner beauty of Manhattan in black and white; it singles out Diane Keaton's expert performance as the fast-talking pseudo-intellectual Mary.

Manhattan is among Allen’s best films and one of the most beautiful, with a timeless black-and-white look and an iconic Gershwin score that elevates the familiar romantic entanglements plot. Diane Keaton’s performance shows impressive range.

The critic calls Manhattan one of Allen's top three films and possibly his best, praising its naturalistic direction, quintessential screenplay of New York neurotics mixing one-liners with intellectual talk, and its most aesthetically pleasing black-and-white widescreen photography paired with a Gershwin score. They highlight the charming performances by Allen and Keaton in sophisticated romantic complications.