History Film / Manhattan

One of Creator/WoodyAllen's best-known films, the 1979 comedy-drama '''''Manhattan''''' is almost universally beloved by fans and critics and famously loathed by the director himself.

* TechnicallyASmile: When Tracy tells Isaac that she's be back in 6 months, and that she'll still love him when he returns ("Not everybody gets corrupted"), Isaac returns a smile of encouragement - but it's obvious he doubts it and his heart is breaking.

* SmokingIsCool: While out having dinner with Tracy, Yale and Emily, Isaac puts a cigarette in his mouth and lights it.

Not to be confused with the 2014 television series ''Series/{{Manhattan}}''

--> ''An idea for a short story about, um, people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves cos it keeps them from dealing with more unsolvable, terrifying problems about... the universe.''

One of Creator/WoodyAllen's best-known films, the 1979 comedy-drama '''''Manhattan''''' is universally beloved by the audience and famously loathed by the director himself. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of Creator/WoodyAllen's best-known films, the 1979 comedy-drama '''''Manhattan''''' is universally beloved by the audience and famously [[CreatorBacklash loathed by the director himself]]. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of Creator/WoodyAllen's best-known films, the 1979 comedy-drama '''''Manhattan''''' is universally loved by the audience and famously [[CreatorBacklash loathed by the director himself]]. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of Creator/WoodyAllen's best-known films, '''''Manhattan''''' (1979) is universally loved by the audience and famously [[CreatorBacklash loathed by the director himself]]. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of Creator/WoodyAllen's best-known films, '''''Manhattan''''' (1979) is universally loved by the audience and famously loathed by the author himself. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of the best-known movies by Creator/WoodyAllen,'''''Manhattan''''' (1979) is universally loved by the audience and famously loathed by the author himself. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of the best known movies by Creator/WoodyAllen, universally loved by the audience and famously loathed by the author himself. In many respects it resembles ''Film/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

* AllWomenArePrudes: strongly subverted.

--> ''"So, do you miss me?"''
--> ''"Yeah. Do you miss me?"''
--> ''"Of course I miss you. I love you. That's why I come and get you all the time."''
* TheAntiNihilist: both Isaac and Yale bear traces of this.
* AuthorAvatar: as usual in Allen's movies.
* [[spoiler:BittersweetEnding]]
* [[spoiler:DidNotGetTheGirl]]: everyone, in the end.

--> ''"My analyst warned me, but you were so beautiful I got another analyst."''
* BettyAndVeronica: Tracy and Mary for Ike.
* BigAppleSauce: see the title.
** The opening monologue - set to ''Rhapsody in Blue'' and synced with a montage of New York City at its most beautiful - is routinely quoted by anyone in love with the place.

* {{Bookworm}}: Ike, Yale and Mary.
* BrokenBird: subverted, as Tracy [[spoiler:gets dumped by Ike, but gets over it, presumably becoming stronger and more mature]].
* TheCity: as the title shows.

* DeliberatelyMonochrome
* DirectedByCastmember
* DramaticStutter: happens to Ike.

--> ''"Facts. I got a million facts at my fingertips. They mean nothing cos nothing worth knowing is understood with the mind. Everything valuable enters through a different opening, if you'll forgive the disgusting imagery. (...) The brain is the most overrated organ."''
* FreudianExcuse: subverted by Ike's jokes.
* FriendsRentControl
* GreenEyedMonster: too many to count, but most notably Ike trying to run his wife's lover over with a car.
* KavorkaMan: both Ike and Yale, apparently.

* JewishComplaining: according to Jill, Ike was prone to do that.
* JewsLoveToArgue: as shown by the debates between Ike and Yale.
* LoveDodecahedron: very much.
* ManChild: Yale, from Emily's point of view.
* ManicPixieDreamGirl: Mary, most of the time.
* MayDecemberRomance: Ike and Tracy.
* MostWritersAreWriters: and Ike is no exception.

* NervousWreck: Ike, in a way typical for Allen's protagonists.
* ThePowerOfLove: played with, in the conversations between Ike and Tracy about Tracy's travel to London.
* ReasoningWithGod: invoked by Isaac in his [[CoolAndUnusualPunishment cool and unusual]] compliment of Tracy's looks:
--> ''"You're... You're God's answer to Job. You would have ended all argument between them. He'd have said "I do a lot of terrible things but I can also make one of these." And Job would've said "OK, you win.""''
* TheReasonYouSuckSpeech: Jill and Isaac like to engage in this.
* RomanticComedy: of Allenish variety.
* SceneryPorn: in spite of the black'n'white vision. The title says it all.
* [[ShoutOut Shout Outs]]: quite a lot, especially in the first conversation between Ike and Mary.

* SliceOfLife
* SmallNameBigEgo: Yale seems to suffer from this.
* StrangeMindsThinkAlike: Ike and Mary have their moments.
* TeacherStudentRomance: Mary and Jeremiah.
* TheThreeFacesOfEve: very fitting to the FreudianTrio pattern: with Tracy as a child (or the Ego, in the process of development), Emily as a wife (or the Superego, exhorting to emotional maturity), and Mary as a seductress (or the wild Id).
* TriangRelations: where to begin?...
** Type 1: Ike (a), Tracy (b) and Mary (c).
** Type 3: Mary (a), Ike (b) and Yale (c).
** Type 7: for some time, Yale (a), Emily (b) and Mary (c).
** Type 9: Mary (a), Yale (b) and Ike (c).
** Type 10: Emily (a), Yale (b) and Mary (c).
* TrueArtIsAngsty: [[invoked]] Yale's opinion.
* UnsympatheticComedyProtagonist: Most of the main cast.
* VisitByDivorcedDad: Ike and Willie.
* WideEyedIdealist: Tracy.
* WritersBlock: the movie begins with a mild case of that.
* YourCheatingHeart: Yale towards Emily.

One of the best known movies by Creator/WoodyAllen, universally loved by the audience and famously loathed by the author himself. In many respects it resembles ''Creator/AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''Manhattan'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a Creator/WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

One of the best known movies by WoodyAllen, universally loved by the audience and famously loathed by the author himself. In many respects it resembles ''AnnieHall'': not only because a female protagonist is played in both films by Diane Keaton but also because it shows that the most important problems associated with relationships simply cannot be solved once and for ever - all this in a typical Allenian sweet-and-sour, self-ironic mood. However, in ''{{Manhattan}}'' the distinction between primary and secondary characters is much more fluent, so the movie is more about the particular situations than persons. One of the important subjects is maturity and its relation to the conflict between emotions and reason, but, as this is a WoodyAllen movie, it is mainly about love, human imperfection and the difficulties which stem from them.

* FreudWasRight: played with.
--> ''"What kind of dog you got?"''
--> ''"The worst. It's a dachshund. You know, it's a penis substitute for me."''
--> ''"Oh, I would have thought then in your case it would be a Great Dane."''

* GeniusBonus:
--> ''"What are you telling me? That you're gonna leave Emily and run away with the... the winner of the Zelda Fitzgerald Emotional Maturity Award?"''

* TrueArtIsAngsty: Yale's opinion.

* AwardSnub: Only nominated for two AcademyAwards, with WoodyAllen being snubbed for Best Director and the film somehow not being nominated for Best Picture.