by Jaime Grijalba.
You may want to zoom in.
FADE IN
EXT. MANHATTAN - MORNING
Shots of Manhattan: buildings, skyscrapers, a modern
snapshot of New York today. People walking down streets
looking at their iPhones or looking at cinema markees
announcing 3D movies. The music of George Gershwin, of
course, fills the atmosphere.
JAIME (V.O.)
Chapter One. He had never been to
New York. He just thought about it
in the most incredible ways,
thinking of it as a snapshot of
1979, as Woody Allen had pictured
it in his film. He idolized it as
he knew that it was the center of
the world of contemporary
culture... No, no, that’s not too
preachy... Ok, let’s start again.
(clears throat)
Chapter One. He had never been to
Manhattan, he had never seen it in
the way that it was in our modern
days. He, in some stupid way,
pictured it in black and white, and
moving alongside to the rythms of
George Gershwin, when surely the
reality is more that it was full
colour at 1080p and surely moving
along at the screeching and
disgusting sounds of Skrillex...
No, no, no, how will I ever do
justice to this?
(clears throat)
Chapter One. He had never been to
New York, he had seen it many times
in TV, but the portrayal of it by
Woody Allen, even if it was forced
into the interiors, the apartments
and the restaurants. He didn’t care
or know if those places were real,
for all he knew, it could’ve been
filmed in Toronto (tax refunds)...
what am I doing here? Ok, ok.
(clears throat)
Chapter One. He had never been to
Manhattan, but that was about to
change...
CUT TO.
INT. JFK AIRPORT - NIGHT
JAIME comes out of some transparent sliding doors from
International Police, and so he is received by the inmensity
of the John F. Kennedy International Airport. Carrying his
inmense luggage, he moves along different seats and people
looking at their flights. In the midst of the crowd, Jaime
suddenly spots SAM JULIANO waving and smiling at him. Jaime
walks up to him, Sam takes one of the bags that Jaime was
carrying and they both stroll along towards the exit.
EXT. PARKING LOT - NIGHT
Sam Juliano is putting the luggage in the trunk of a big
white van, when he finishes, he approaches Jaime and shakes
his hand.
SAM JULIANO
It’s a pleasure that you finally
decide to come for a visit...
JAIME
Yes, yes, thanks so much. And it’s
pronounced "Hi"-"Meh", Jaime.
SAM JULIANO
I always had the doubt, thanks
Jaime.
JAIME
No problem.
Jaime gets on the van, which is completely empty. The cold
night of New York is beautiful as from the window of the car
its bright stillness dazzles Jaime.
INT. VAN - NIGHT
Jaime watches out of the window and sees snapshots of the
night life of New York. Suddenly, Sam speaks from the front
of the wheel.
SAM JULIANO
What do you think Jaime, too tired?
What do you think about a movie in
Manhattan?
JAIME
(smiling)
I’d love that!
The van drives away into Manhattan.
EXT. OUTSIDE AN ART THEATRE - NIGHT
Jaime is standing in the front of a line in the ticket booth
of an old arthouse theatre that is showing, according to the
markee, a retrospective on famous films of the 70’s. In
front of him, Sam Juliano is waiting to buy the tickets.
Suddenly, from one end of the street comes strolling DENNIS
POLIFRONI that inmediatly runs towards Sam and shakes his
hand, Jaime watching him surprised.
SAM JULIANO
I told you I had a surprise, look,
this is Jaime Grijalba.
DENNIS POLIFRONI
Wow, Jaime, this is truly a
surprise. Nice to meet you.
JAIME
(shaking hands with Dennis)
Nice to meet you too Dennis.
DENNIS POLIFRONI
So, what are we watching tonight?
SAM JULIANO
I thought that a little Manhattan
wouldn’t be too bad for our guest?
Dennis looks to the side and then at Sam.
DENNIS POLIFRONI
Really? Are we doing this? It’s not
even his best movie from the 70’s!
Not even the second best.
JAIME
What are you talking about Dennis?
SAM JULIANO
I do think it’s a good movie, but
it’s not in my favorites in the
Woody Allen canon.
JAIME
I’d have to say I’m appalled, you
guys, two Manhattaneers? Or
whatever it’s called?
A moment of silence.
SAM JULIANO
Jaime, you know we’re both from New
Jersey, do you?
Jaime stares to the floor and then looks at the two man,
looking directly at him.
DENNIS POLIFRONI
We do live near the city but...
it’s not like we’re here every day.
Suddenly, Jaime runs off.
EXT. STREET OF MANHATTAN - NIGHT
Jaime runs through streets of Manhattan, until he suddenly
stops to catch his breath. He’s sorrounded by unknown
buildings, he’s completely lost.
JAIME
Oh, shit.
Suddenly, from a corner, BOB CLARK appears, strolling
peacefully down the street. Jaime waves at him, but Bob
doesn’t recognice him. Jaime runs up to him.
JAIME
Bob, Bob, it’s me, Jaime.
BOB CLARK
Jaime?
Bob Clark looks to the side towards another illuminated
street.
EXT. ILLUMINATED STREET - NIGHT
Bob and Jaime are walking down the street, side by side.
BOB CLARK
Well, that was stupid.
JAIME
Yeah, I know.
BOB CLARK
You’ll have to apologize, I guess.
JAIME
For sure, I don’t know what came
over me.
BOB CLARK
Mhm.
Suddenly, someone on a bike passes through, Bob and Jaime
look at him and follow him with their eyes.
BOB CLARK
I guess it’s not time to talk you
about my new series of pieces
called "the Academy of the
Overrated"?
JAIME
Wha- what?
BOB CLARK
You know, film people that I think
that are overrated, like... Alfred
Hitchcock, François Truffaut, Woody
Allen...
JAIME
Oh, don’t forget Kubrick, you don’t
wanna forget Kubrick now that we
are trashing people.
BOB CLARK
What do you mean?
JAIME
All the people that you’ve
mentioned are complete geniuses.
BOB CLARK
Oh, you know...
Suddenly, Jaime stops. Bob takes a step or two and also
stops.
JAIME
(points to the other end of
the street)
Look at that.
BOB CLARK
(looks back)
Oh my God, you possibly can’t be
serious.
Jaime runs off towards the part he pointed at, and Bob,
reluctantly, walks behind.
EXT. VIEW TO QUEENSBORO BRIDGE - NIGHT
Jaime and Bob are sitting at the same bench as in the scene
in the film Manhattan, looking at the Queensboro bridge,
side by side. They admire the view.
JAIME
Boy, this is really a great city. I
don’t care what anyone says. It’s
really a knockout, you know.
A car passes by.
JAIME
This is really gay, is it?
BOB CLARK
Yeah, a bit.
JAIME
You care?
BOB CLARK
Nah.
Both stand up and start walking back towards the other side
of the street.
EXT. OUTSIDE AN ART THEATRE - NIGHT
Sam Juliano and Dennis Polifroni are standing looking at
every side of the street.
SAM JULIANO
My God, if that boy gets lost, I
just don’t wanna think about it.
From one corner, Bob and Jaime appear, Sam and Dennis let
out sighs of relief.
DENNIS POLIFRONI
Wow, thanks Bob.
BOB CLARK
No problem, I found the little rat
running around, he has something to
say.
Jaime steps up and then looks up towards Sam and Dennis.
JAIME
I think I did a big mistake and I
don’t want you to think about me in
this way. Well... is it too late?
SAM JULIANO
Jesus, you pop up, you don’t call,
you run away, and you suddenly
appear. I mean...
Jaime shakes his head.
JAIME
I made a mistake, what do you want
me to say? Do you still want to see
the movie or what?
DENNIS POLIFRONI
Do you want to see the movie?
JAIME
Yeah, that’s why I’ve came, that’s
what it’s all about.
SAM JULIANO
You really looked bad.
JAIME
It was not on purpose. I mean, I...
it... it was just how I was looking
at things at the moment.
Bob Clark approaches the ticket booth and comes back.
BOB CLARK
Well, they won’t be seeling any
more tickets, the movie is already
playing.
SAM JULIANO
Well, Jaime, I’m sure it will play
next week.
JAIME
Next week! Are you kidding?
DENNIS POLIFRONI
We’ve gone this long without seeing
it, what is a week if we still want
to see it?
JAIME
I mean, in a week lots of things
can change, screens can get
diminished, or repeats not
available.
SAM JULIANO
Why couldn’t you have brought this
up an hour ago? A week is not so
long, I’m sure they’ll put it up
again. You have to have a little
faith in people.
Jaime looks away one moment, then looks at the three men in
front of him, and half-smiles.
EXT. MANHATTAN - DAWN
The buildings of modern New York City shine under the light
of the rising sun.
FADE OUT.
Disclaimer: This is pure fiction, the people represented here may or not may talk or act or be like the descriptions made here. Sorry for not delivering something that you might expect regarding the great movie that ‘Manhattan’ truly is, but I wanted to repeat the experiment, and I can’t say that I did a better job, but at least I can say I did it.
How Manhattan made the top 100:
#1 J.D. La France
#2 Pedro Silva
#4 Davis Schleicher
#10 Shubs Laheri
#11 John Greco
#13 Dean Treadway
#18 Allan Fish
#27 Jon Warner
#28 R.D. Finch
#35 Pat Perry
#47 Frank Gallo
#52 Bobby McCartney
#54 Jaime Grijalba
#54 Mark Smith
Jaimie, you have me speechless here! To say that I greatly admire your audacious approach to this film would be an understatement, but I do believe it much more than just an experiment, but rather a look at the film from the iconic setting that has always held allure for native New Yorkers and those who wish they were New Yorkers. You have actually captured this sense of yearning and of the special magic of the Big Apple, that Woody himself has been able to translate in cinematic terms time and again, but specifically in his famed love letter here. You use dialogue to re-enact Gordon Willis’s luminous cinematography, while also offering your perceptions on three WitD colleagues whose tastes, rankings and world views you know only too well. I am honored to be included in this trio, needless to say! As far as MANHATTAN goes, it’s widely admired by many as Woody’s masterpiece by those who haven’t named ANNIE HALL of one of the others, but I am not at all sure why I didn’t include it on my own list. The film’s wistful textures are long admired, and for many it’s the definitive sensory transcription of this great city. By going this way you acknowledged that most have read up on the film, and may now wish to have some real characters inhabiting the cityscape.
Bravo Jaimie!
Jaime, not the expected post but a very enjoyable one nevertheless. And you did put your finger on something that is the essence of the film, and that is how much Manhattan is at the center of the movie and also the lives of its people. Movies have made characters of some of the world’s great cities, and this has surely been done with New York more than any other American City. But I don’t think anyone has exceeded Woody Allen’s use of the city in this film. Many would probably pick “Annie Hall” as their favorite Allen film, but my own favorite is “Manhattan.” I think it has the most appealing and subtle balance of tonal qualities of any of his pictures.
Brilliant. Fabulous. That would easily rank among the most out-of-the-box & audacious movie review that I’ve come across. And the initial sequence, fondly imitating the starting voiceover in the movie – that sure took the cake for me. And yes, great performances by the entire cast
I keep alternating between Annie Hall & Manhattan when asked which is my favourite Woody Allen film – so these days I name both and save myself the pain of choosing. Similarly, the second spot, for me, is a toss-up between Hannah & Her Sisters, and Husbands. The way this guy could seamlessly mix self-deprecating humour, with, nostalgia, and an underlying melancholia, never fails to leave me stunned, irrespective of how many times I watch his films (particularly the ones I love).
Sorry for the innumerable typos. Cinema and work (I’m at office now) just don’t mix well.
Well, for sure, this is one of the most bizarre and creative ways I’ve ever seen a movie review present itself. Like a film spt, Jaime presents all the details (action descriptions included) that a screenwriter must concern himself about. I must congratulate the author on this audacious presentation and say that I am also deeply flattered to be included in this mini movie as on of the main “players”…
Wow Jaime this is great. Really great. What a fun read and a great tribute to the film and the city that it admires. Let me say that Manhattan is my FAVORITE Woody Allen film, even if I think Annie Hall is funnier. Manhattan is more moving and nuanced and just beautiful, but I ranked Annie Hall higher for this particular countdown. Manhattan though might make my top 20 films of all time.
I really enjoyed this. The print is tiny, but I managed with it. I support diverging from the expected presentation. This one brings the spirit of the city, which is what Woody actually did in his unique, incomparable comedy.
Well done Jaime. F*****g brilliant. I am glad you went this approach. I had toyed with a similar idea for my Buneal write-up but ditched the screenplay/VoiceOver idea because it wasn’t meshing. But you manage to pull it off.
Ha, now I’m feeling guilty for not self-censoring…
no need to feel guilty. In fact, I kept thinking if I should self-censor or not. But I am glad you didn’t…
Fucking phenomenal, man – you slip in some commentary on the film alongside inside-jokes that will make even the most casual visitors to this site smile in recognition, and a lot of brilliant reflections of the film itself, in dialogue and structure, subtle enough that in certain cases it took me a moment to realize what you were doing. My favorite piece by you and certainly one of my favorite pieces in the countdown.
And anyone who’s chatted with Bob will LOL at this:
BOB CLARK
Mhm.
At the risk of sounding redundent…LOL.
The Raising Arizona one was amusing, but this is genius (of course it helps that I’ve seen Manhattan, and not the Coens film). Where was Maurizio though?
Great stuff, Hi-Me. Keep it comin’.
Thanks to all the commenters and to the cast and crew that made this possible. Thanks!
I’m just sorry I didn’t have enough time to draw this out as I intended to.
You know, Manhattan has been a bit of a tough ride for me when I’ve watched it, but I will say that the time has come to revisit it.
Jaime this was wonderful, and in this spirit I will share a dialogue I created between Sam and Dennis from many years ago.
The first inclinations of a travesty yet to occur.
INT. LOEW’S THEATER LOBBY-CIRCA 1998. NIGHT
A somber crowd spills into the movie theater lobby. People sniffle. An older woman takes off her glasses and wipes away a tear. SAM thanks a teenager for holding the theater door open, and bounces into the hallway, a folded bag of popcorn in his right hand. Dennis follows him out of the theater. Sam tosses the popcorn into a garbage can and turns to Dennis.
SAM
I wanna hear what ya have to say just give me a minute I wanna relieve myself first.
Sam rushes into the bathroom as Dennis idles off to the side amid the shell- shocked crowd who stagger toward the theater lobby’s doors. After several moments Sam reappears.
SAM (CONT’D)
You know I’m really going to have to consider an alternative to coffee because my bladder has been rendered completely unpredictable. I got up once during the movie. . . .now here I am again yet I DID NOT DRINK ANYTHING! What sense does that make?
DENNIS
(laughing)
You know this is exactly why I adore hanging out with you.
SAM
Is that so? You adore hanging out with me? Just last week you weren’t even answering my phone calls and now you adore hanging out with me?
DENNIS
It’s just so amazing to spend time with someone who is so desperate to figure out why he spends so much time with his dick in his hand.
SAM
Ha you are a sick one you know that.
They start following the crowd through the lobby.
SAM
Well . . . what did you think?
DENNIS
What do I think, what do I think? I think we have the best picture of the year on our hands, and not only that, he can start clearing out some room on his mantle cuz he’s an absolute lock for another best director Oscar!
SAM
So you liked it?
DENNIS
Yeah, of course. What don’t tell me you had a problem with this picture!
SAM
No-yeah, I’m blown away, flabbergasted, the way he created the experience of war was just amazing and brilliant beyond all expectations.
DENNIS
Yes, yes, I agree TOTALLY. He’s single handedly reinvented the war genre here and I think this has to be one of the top two or three war pictures of all time.
SAM
Yeah, the guy did a marvelous job without question.
DENNIS
The battle sequence in the beginning could be one of the five most harrowing sequences EVER commited to film.
SAM
Oh yeah it was phenomenal. I mean it had been lauded till the ends of the earth but nothing can prepare you for the intensity and horror he so successfully captured.
DENNIS
Did you see the people walking out of here, they were in a complete fucking daze, like they saw a ghost.
SAM
And the cinematography. . . .
DENNIS
BRILLIANT. ABSOLUTELY BRILLIANT. He’s another shoo-in nomination. . . .
SAM
. . . .the washed out graininess. . . .
DENNIS
I knew exactly where he was going with that and he was right on the money, right on the money.
SAM
He tried to evoke those old newsreels from the forties and fifties and I think it’s safe to say he succeeded beyond anyone’s wildest expectations.
They exit the theater and head toward the parking deck. Dennis lights a cigarette.
DENNIS
You’re absolutely right!
SAM
And the performances!
DENNIS
Top notch all across the board.
SAM
I think you’ll see at least two, maybe three nominations in the acting category.
DENNIS
You know they really had to go through a boot camp to prepare for this one. . . .
SAM
Is that right?
DENNIS
Yep, yep. Once again SPIELBERG has proven that his determination to get every single detail right is something that puts him head and shoulders above any director working today. NO QUESTION!
SAM
Well he is a veteran of esteemed credentials. And the score!
DENNIS
MARVELOUS. MARVELOUS. Another shoo-in nomination.
SAM
Yeah but you know he gets nominated every time no matter what.
DENNIS
I tell ya Sammy I think we just witnessed a masterpiece, you can etch it in stone this film is gonna sweep at the Oscars this year.
SAM
Yeah, well, it would be a deserving victory without question.
DENNIS
I’m really beside myself here. He recreated that atmosphere, the tension, that idleness not knowing if you can be killed at any moment so powerfully, it’s really like nobody who handled this material before.
SAM
Well many others have tried without such glorious results. You are right, the narrative was somewhat unconventional yet it very accurately reflected the all or nothing nature of war. You know, one minute you have bullets flying over your head then two weeks NOTHING. Don’t get me wrong, I’m not saying that the down time is easy. . . .
DENNIS
No you’re right, I see exactly what you’re trying to say here.
SAM
But I feel he attained a level of dramatic intensity in the more banal aspects of war that was unique and effective to a mind boggling degree.
DENNIS
And those bookends!
SAM
Heart wrenching to say the least, no question there.
DENNIS
But he said it simply and beautifully. This country is defined my people like these guys and their experiences can transcend generations.
They arrive at Sam’s minivan. Dennis puts out his cigarette, Sam curses as the ignition grinds without starting after he first turns the keys. A deep sigh and another attempt get the engine going. The muffler sputters like it has terminal emphysema.
SAM
You know they really need to find a way to resolve the traffic problems here. Getting out of this lot gets to be exceedingly difficult as time goes on.
DENNIS
I tell Ya Sammy after Schindler’s List I thought the guy had blown his load but what he came up with here is so unique and stirring that I think you can almost call the films equal.
SAM
Yeah well, I don’t know if I’m quite ready to commit to a statement like that at this point.
DENNIS
Sammy, I don’t think I’m gonna be wrong on this one, time will tell but I think it’s undeniable that this director has given us TWO MASTERPIECES in a row, and in my mind they are both on par.
SAM
This is unquestionably a great film, don’t get me wrong, but to say that it’s the equal of Schindler’s List? The subject matter of that film calls for emotional resonances that this film does not have the opportunity to explore. While I will not deny your masterpiece claims I think it might be a little early in the game to put it up there with Schindler’s list.
DENNIS
I’m telling you Sammy I know what the fuck I’m talking about here and I’m fuckin certain time will prove me right on this one.
SAM
Don’t get me wrong, I’m not disagreeing with you, I’m only saying it will take time with repeat viewings and things of that nature to determine if your assertion is fully accurate. That’s all.
Now, this is amazing.
What’s even more amazing is how Jason says this is a “made up” conversation when, in fact, this is precisely the conversation that Sam and I had when leaving the theatre in 1998 after seeing SAVING PRIVATE RYAN. Jason must’ve had a microphone on at the time as it’s so accurate to be almost scary.
NOTE: Since that day, both SAM and I have re-evaluated SAVING PRIVATE RYAN and, although we still really like the film, have both demoted it in points when giving it a final grade. The advent of films like THE THIN RED LINE have made us conclude that we were a little premature in our effusive praise of the Spielberg war opus and, as it happens from time to time, were blinded by the pyrotechnics of the piece upon the completion of the first viewing.
I have, since that day, re-seen PRIVATE RYAN several times and will freely admit that my enthusiasm for it has dwindled a bit. The opening 25 minutes on Omaha Beach still greatly impress and few, if any, directors can lay claim to such a mastery of an action sequence (something Spielberg does better than anyone, in his sleep no less). The problem I have with the picture after re-seeing it several times, is that, after the first 25 minutes, the director starts sentimentalizing the subject to the point of sugar poisoning. Yes, there are some fine moments in the film following Omaha Beach, but the preachy, “remember this” attitude of the last half of the film really weighs the entire experience of the film down.
I much prefer SCHINDLERS LIST to SAVING PRIVATE RYAN, and I’ll defend that film as his masterpiece of all time. After that, I think Spielberg has greatness written all over his first few (JAWS, CLOSE ENCOUNTERS, RAIDERS OF THE LOST ARK, E.T. and EMPIRE OF THE SUN), and after SCHINDLER, it’s a matter of MONORITY REPORT, much of MUNICH, and LINCOLN…
I still find smile inducing entertainment value in films like POLTERGEIST (yes, Spielberg is the real director of that one), JURASSIC PARK, THE LOST WORLD, WAR OF THE WORLDS and CATCH ME IF YOU CAN. However, those films are not on the same level with his earlier classics and his Holocaust drama masterstroke…
no microphone Dennis! I wasn’t there when you guys saw it together-my unfortunate theatrical viewing of Private Ryan consisted of a woman explaining everything to her half-blind husband a row behind me. The three of us, along with Jack Marsh and Douglas, see The Thin Red Line together that year at Lincoln Center, which was also a very memorable experience.
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OMG!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!