Hannah and Her Sisters

While I am a Woody Allen fanatic, I'm not sure if I agree with the minority of Woody fans who claim this is his best film, instead of "Annie Hall". Sure, I would be quick to elect "Annie" as Woody's best, but then I regard "Manhattan", "Stardust Memories", "Crimes & Misdemeanors", as well as "Hannah And Her Sisters", and I become unsure. This is certainly one of Woody's most mature films, and I would freely place it in my top five of Woody's works. It nicely balances comedy with drama, and it also began a new era of high accomplishment for Woody. Functioning as an ensemble drama loosely organized around three sisters, "Hannah" chronicles several stories at once. The film has an incredibly warm, intimate feeling about it, as people talk in their earth-toned apartments over J.S. Bach or stroll through the city's crisp autumn air. What rings most true about this film is that it doesn't end quite the way you thought it would (the words "too tidy" and "unpunished" get unfairly used a lot), yet it ends as it should.

Ironically, Hannah (played by Mia Farrow) doesn't fare too deeply in the film. The eldest of three, she's the family matriarch soothing her aging parents, a showbiz couple reluctantly settling into old age and blaming each other for it. Her husband Elliot (Michael Caine expertly stuttering & flushing) is consumed with guilt over his heavy crush on Hannah's sensuous, down-to-earth sister, Lee. Lee is slowly pulling away from her failing relationship with Frederick (the always excellent Max Von Sydow), a horribly misanthropic curmudgeon whose reliance on her as his last link to humanity becomes suffocating. The youngest sister, Holly (Dianne Wiest - kicking ass as usual), is a nervous, impatient actress whose insecurity and lack of success lead to competing with her best friend April over work and men. Meanwhile, Hannah's ex-husband Mickey (Woody), a severe hypochondriac, is trying desperately to accept his eventual mortality and still find some meaning in life, which it what it seems all the other characters are trying to do. I won't say where the stories are going or where they all end up, but I will say the ensemble cast is all-around great, Michael Caine and Dianne Wiest are definitely the stand-outs here (their Oscars were well-deserved), but Max Von Sydow and Barbara Hershey do quite fine as well. As for Woody - Mickey is the kind of character that fans were probably waiting for him to play for years, and he pulls it off with his classic ticks & twitches.

Woody's evident genius is shown here by juggling the separate stories back & forth so fluidly. Most attention seems to be focused on Elliot and Lee during the first half (both conflicted & confused), while the second half slightly centers around Mickey and Holly (both nervous & unsure). Mickey operates mostly as an outsider and the strength of his story doesn't pertain too much to "the sisters" (although there are two hysterical flashbacks sequences, one involving Hannah and the other detailing a disastrous date with Holly). Another masterstroke on Woody's part are the internal voice-overs. Woody is too smart to know that there are certain thoughts a person has that will exist only in their head, and extracting these feelings into some kind of dialogue with another person would seem forced. It's casual pacing, novelistic endeavors, vivid characters, cozy settings, heartfelt music and sharp, candid dialogue are what makes this film hold up beautifully for me after dozens of viewings. It's an absolute Woody Allen film.

Woody Allen makes movies that will sometimes be partial duds with great lines and characters, and then he'll make an all around great movie like Manhattan, Sleeper or Deconstructing Harry. In the 80's, he had a period where most of his films were generally great (Midsummer Night's Sex Comedy might be the exception). But this is one of the gems in that period, a comedy with great acting matched with a finely tuned screenplay.

Though not without an ending that leaves everything a little too neat (however upon pressure from the studio, not Allen's original intentions of course), this is another relationship-centric picture, with the side-bar of Woody's character being chronically afraid of death and what comes after it. Deservedly his last big award winner, it's a possibility for my favorite Woody 80s movie (even if the experience in the theater sucked- the downside to seeing an Allen movie is the large amount of old people, and the occasional old man who sits very close with a constantly shifting candy wrapper, smacking lips, and a penchant for a horrible sinus conditon...just think who the fans of Woody movies will be then they croak).

This is what I would call a perfect film. This was my first Woody Allen experience and I have been shamelessly hooked ever since! I have probably seen it about 20x's and I always love it!! It has it all; it's hysterically funny at times (the hypochodriac), it's incredibly painful(afternoons) at others and the blending of the characters paths(lucky I ran into you) is just beautiful. I watch this movie every couple of months when I need a little cheering up and it always works. Highly recommended.

The lives, loves and frustrations of the New York professional classes is not something that I would automatically associate with great cinema, but if anyone can pull it off it is Woody Allen. Mostly because, as a comedian, he knows how to sugar the drama pill with laughs and situation comedy.

Here, however, he has not quite got it right. All the ingredients of the cake have been lovingly applied - but it just doesn't rise and bake. At times it plays out as little more than an upmarket soap opera, with sexual frankness thrown in for good measure.

While light and watchable, there is too much me-me-me to care whether the characters fall in love or under a bus. Michael Caine even won an Oscar for his performance as a overheated adulterer - I am not sure how comedic this is supposed to be, but some people obviously saw it as funny!

Let's not knock cinema for being about nothing or having characters you are glad are not in your life - because you could say that about so many good films: But do we really want to spend time with people such as Dianne Wiest (another undeserved Oscar!) who cannot decide what to do with her life - and even if she did is too much of a scatty disaster to make a success of it.

Allen comes on to play his neurotic character (sorry - I have lost count of how many times this is!), almost as a comic side-show that the film could live without. Naturally he gives himself some the best one-liners - even though most of the jokes are on him.

The reason why Allen can make film such as this, and even gain awards for them, is because he has no competition. If you took a script like this to a major studio they would laugh you out of the building. Even if you won the lottery and financed it yourself - most acting talent wouldn't go near you: Too many small unflattering parts.

I wasn't moved by this movie (as I have been in the past with WA films), but it is not hard to see why Oscar voters saw more in it than I did. They probably spend a lot of time sitting around talking about themselves in restaurants too.

Hannah and Her Sisters (1986) Probably when all is said and done, my favorite Allen movie. This is definitely one of those examples where the sum is greater than the parts. Great shots of New York (specifically the city's architecture), great situations, great parties and great music

Among the Manhattan-dwelling characters is Michael Caine, who is married to Hannah (Mia Farrow) but lusts after her sister (Barbara Hershey) who lives with a tormented artist (Max Von Sydow.) Hannah's ex-husband (Woody Allen) starts dating her other sister (Diane Weist) who wants to date Sam Waterston, even though he'd rather date her friend (Carrie Fisher).

In addition to the cameo by Julia Louise Dreyfuss, the film features two supporting performances by old school actors, Lloyd Nolan and Mia Farrow's real life mom, the original Jane in the Tarzan movies, Maureen O'Sullivan.

If that's not enough, Allen throws in plenty of his trademark hypochondria hysteria, questioning the meaning of the universe and whether God exists.