Annie Hall

“In a decade largely devoted to male buddy-buddy films Woody Allen has almost single-handedly kept alive the idea of heterosexual romance in American films. His four romantic comedies with Diane Keaton strike a chord of believability that makes them nearly the only contemporary equivalent of the Tracy-Hepburn films. The latest, Annie Hall, is by far the best, a touching and hilarious love story that is Allen’s most three-dimensional film to date.

“As Allen acquires more finesse as a director, more command of emotion and a smoother visual style, his films have gradually become something deeper. There is an undercurrent of sadness and pain now, reflecting a maturation of style.

“The script by Allen and Marshall Brickman is loosely structured, virtually a two-character running conversation between Allen and Keaton as they meet, fall in love, quarrel, and break up. The unhappy ending, in this case, is an unusually satisfying conclusion, for though the audience comes to love both people, it also comes to respect both of them enough to want them to seek happiness individually.” - Variety, 1977


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