Archive for August 18th, 2014


by Shubhajit Lahiri

Manhattan came possibly as a conclusion to the most remarkable purple patch in Woody Allen’s prolific and brilliant career as a filmmaker. The phenomenal streak began with Love and Death, his first masterpiece in my reckoning and the film that, despite its farcical nature, marked his transition to serio-comic cinema. He followed that up with Annie Hall, one of the great works of American cinema and the beginning of his love affair with urban neurotic relationships and New York. Next came Interiors, a stark chamber drama that stunned the audience with its deathly serious tone and made his fascination with Bergman clear. Manhattan, which ranks amongst many as Woody’s greatest work, marked the culmination of all his great hallmarks and signatures. Though he continued to make stellar works in the years to come (Hannah and Her Sisters, Crimes and Misdemeanors, and Husbands and Wives are the ones that place highest in my opinion), the above streak ensured that cinephiles and film students start considering Woody as a serious and accomplished auteur, and hence, in turn, his elevation to the pantheon of great filmmakers, artistes and social commentators.


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