Manhattan (1979)

Introduction: A Cinematic Love Letter to New York City

Manhattan is a film that encapsulates the complexity and contradictions of love, identity, and personal growth, all set against the vibrant, electric backdrop of New York City. Written and directed by Woody Allen, this 1979 classic is often hailed as one of his finest works, with its stunning cinematography, insightful screenplay, and exploration of human relationships. It's a film that strikes a delicate balance between comedy and drama, blending Allen’s signature neurotic humour with moments of deep introspection.

The film’s narrative is as much about the characters as it is about the city itself. New York is portrayed as a romanticized, almost mythic landscape—its streets, parks, and landmarks becoming metaphors for the tangled emotional lives of the characters who inhabit it. The black-and-white cinematography by Gordon Willis (famously known for his work on The Godfather trilogy) adds to the timeless, almost nostalgic atmosphere of the film, reinforcing its themes of longing, disillusionment, and fleeting beauty.

Plot Summary

Manhattan follows the life of Isaac Davis (played by Woody Allen), a middle-aged, neurotic television writer who is grappling with the complexities of his relationships and his place in the world. At the start of the film, Isaac is in a tumultuous, on-again, off-again relationship with his ex-wife Jill (Meryl Streep), who has just come out as a lesbian. The film’s central plot revolves around Isaac’s evolving relationship with Tracy (Mariel Hemingway), a charming 17-year-old high school student, and his simultaneous infatuation with Mary (Diane Keaton), a sarcastic and intelligent woman who also happens to be the lover of his best friend, Yale (Michael Murphy).

As the story unfolds, Isaac navigates the confusion and heartbreak that comes with these overlapping relationships. His romantic entanglements with Tracy and Mary are marked by the tension between idealized love and the disillusionment that often accompanies it. Throughout the film, Isaac also grapples with his existential musings about life in New York City, his own professional identity, and the nature of love itself.

The film moves between moments of humour, wit, and introspection, as Isaac finds himself drawn to both the youthful innocence of Tracy and the intellectual allure of Mary, leading him to a personal crisis about his own desires and the choices he has made. The narrative ends on a bittersweet note, with Isaac coming to terms with his feelings, though the film leaves questions about his future love life and personal growth open-ended.

Themes and Analysis

Love, Age, and Idealism

One of the central themes of Manhattan is the idea of love as both a lofty, idealized notion and a complex, often problematic reality. Throughout the film, Isaac is portrayed as a man who is at once searching for meaning in love and simultaneously dismissing it as elusive or unachievable. His relationship with Tracy, who is much younger than him, represents the idealistic, innocent version of love—a kind of romantic fantasy in which everything seems pure and untouched. However, the age gap between them also introduces a sense of uncomfortable dissonance, as Isaac becomes more aware of the differences in their life experiences.

Isaac’s infatuation with Mary, on the other hand, represents a more intellectual and cynical form of love. Mary is witty, sharp, and self-aware, but her relationship with Yale complicates Isaac’s attraction to her, further reflecting the complexities of love in a world that often seems rife with moral ambiguity. Allen examines the ways in which people constantly seek love, yet rarely find it in its idealized form. Instead, love is fragmented, imperfect, and often entangled with personal insecurities, societal pressures, and self-deceptions.

The City as a Reflection of Inner Turmoil

New York City itself is a character in Manhattan, an ever-present backdrop that represents the emotional chaos of the characters. Allen presents the city as both a source of inspiration and a space of alienation. The film’s iconic black-and-white cinematography creates a sense of romanticism and nostalgia, imbuing the city’s parks, streets, and landmarks with a kind of timelessness. At the same time, the film highlights the loneliness and confusion that often accompany life in such a bustling metropolis.

The urban landscape serves as a metaphor for the characters’ internal struggles. Isaac’s life in the city, with its sprawling avenues and crowded spaces, mirrors his emotional disarray—his feelings of being overwhelmed by the complexity of relationships, personal choices, and professional anxieties. The city’s ever-changing nature, its vibrancy and contradictions, mirror Isaac’s own search for meaning in a world that often feels fragmented and disjointed.

The Complexity of Personal Identity

Manhattan also explores the idea of personal identity—how people define themselves through their relationships, careers, and ambitions. Isaac, in particular, is portrayed as a man whose sense of self is heavily influenced by his relationships with others. At the start of the film, Isaac’s failed marriage to Jill, his awkward romance with Tracy, and his infatuation with Mary highlight his struggle to understand his own desires and emotional needs.

In the film, Isaac's identity is often tied to his relationship with New York itself, but also to the people around him. He is a writer, a man whose career is defined by his ability to articulate the complex emotions of others. However, in his personal life, he is unable to find the clarity and understanding he so easily offers in his work. Isaac’s crisis is emblematic of the confusion that many individuals face as they attempt to reconcile their internal desires with external expectations.

The film’s exploration of the intricacies of identity also touches on the superficial nature of personal reinvention. Isaac, at times, portrays a persona of intellectual superiority or emotional detachment, yet his internal vulnerability constantly undermines these masks. His inability to fully understand his relationships with women and his place in the world speaks to the larger existential questions about the nature of selfhood in a modern, complicated society.

The Search for Meaning in Art and Life

The film offers a subtle commentary on the nature of art and its relationship to personal fulfilment. Isaac, as a television writer, creates stories for a living, but he is dissatisfied with the shallow, commercial nature of the work he does. His intellectual dissatisfaction with his job mirrors his dissatisfaction with his own life. The notion that art and creativity are vehicles for personal and emotional fulfilment is contrasted with Isaac's lack of fulfilment in his own relationships and existential concerns.

In Manhattan, Isaac's desire to create meaning through art is juxtaposed with his failure to find meaning in his personal relationships. The film thus asks whether it is possible to reconcile the lofty ideals of art and love with the complexities and disappointments of real life.

Performances

Woody Allen’s performance as Isaac Davis is emblematic of the neurotic, self-deprecating characters he often portrays in his films. Allen brings both humour and pathos to the role, making Isaac simultaneously frustrating and endearing. His portrayal is both comedic and deeply reflective, capturing the essence of a man who is always searching but never quite satisfied.

Diane Keaton as Mary is a standout, as her sharp wit and intellectualism provide a strong counterpoint to Allen’s neuroticism. Keaton’s chemistry with Allen is palpable, and their scenes together are full of both humour and tension. Keaton’s nuanced performance captures Mary’s complexity—she is both emotionally detached and deeply vulnerable.

Mariel Hemingway delivers a remarkable performance as Tracy, a young woman whose innocence and charm contrast sharply with Isaac’s cynicism. Hemingway’s portrayal of Tracy is subtle and understated, capturing the youthful exuberance of her character while also hinting at the complexity of her feelings for Isaac.

Michael Murphy as Yale is equally effective in his role as the intellectual foil to Isaac. Yale is confident and secure in his life choices, which makes him both a friend and a rival to Isaac.

Direction and Cinematic Style

Woody Allen’s direction in Manhattan is impeccable. He balances the comedic and dramatic elements of the story with grace, creating a film that is both funny and emotionally resonant. The script is filled with sharp dialogue and insightful observations on human nature, but Allen also allows for moments of introspection and quiet reflection.

The cinematography by Gordon Willis is one of the most iconic aspects of the film. The black-and-white visuals are breath taking, capturing the elegance and the grit of New York City. The city’s landscape is presented as both a romantic backdrop and a place of deep emotional resonance. Willis’s use of light and shadow enhances the film’s themes of identity, illusion, and self-discovery, contributing to the overall tone of the film.

George Gershwin’s music, particularly the use of "Rhapsody in Blue," serves as the perfect accompaniment to the film’s setting. Gershwin’s compositions evoke the grandeur and complexity of New York City, further reinforcing the film’s thematic exploration of art, love, and identity.

Cultural Impact and Legacy

Manhattan is widely regarded as one of the defining films of the 1970s, with many critics considering it Allen’s finest work. The film’s exploration of complex themes—such as love, self-identity, and the search for meaning—resonates deeply with audiences, and its portrayal of New York City has become iconic in its own right.

The film’s influence can be seen in its lasting impact on cinema, particularly in the way it has shaped