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By
NICK ZEGARAC
"Annie Hall" is the story of
socially repressed New York comedy writer Alvie
Singer (Woody Allen) and his sudden romantic
fascination with Annie Hall (Diane Keaton). She's
eccentric, pert, obnoxiously funny and genuinely
scatterbrained.
After going through a series of hapless romantic
entanglements, Alvie realizes that his life is
lacking in sexual fulfillment and deeper meaning.
Although he engages Annie on a strictly platonic
level, Alvie eventually begins to realize that she
alone might be able to satisfy all of his inner
longings for meaning and solace amidst the
frustrated glass and concrete jungles of New York.
Allen's ability to fashion a narrative out of
disjointed vignettes is admirably and fully
realized in this film. Take the scene where Alvie
is waiting outside a theater for Annie to arrive
for their first date. Suddenly an ardent fan
(James Burge) approaches, at first cautiously,
then instinctively making a damn nuisance of
himself by screaming Alvie's name and credentials
to passers by on the street, much to the chagrin
of the introverted Alvie. The vignette leads to
another in which Alvie and Annie, waiting in line
for their movie tickets, stumble upon a
pretentious critic talking about a book he's read
by Marshall McLuhan. Suddenly the author appears
to put the critic in his place, in a sort of
verbal tennis match that has absolutely nothing to
do with the plot but is riotously funny
nevertheless.
The role of Annie won Diane Keaton a well-deserved
Best Actress Oscar. Woody is his usual brilliant
self-deprecating self. Christopher Walken makes a
welcomed edition to the proceedings as Annie's
off-kilter brother Duane. The cocaine/sneeze scene
is by far the funniest moment in the film.
In retrospect "Annie Hall" seems a quirky
precursor to "Seinfeld," a story about New Yorkers
that, in truth, have very little to say but do it
magnificently as masters in the art of
time-suckage. The film also took home the Best
Picture Oscar. This is a definite must have for
lovers of New York or Woody Allen films.
The MGM DVD transfer is widescreen but not
anamorphic -- a real shame. Colors are dated but
nicely balanced. While fine details leave
something to be desired, particularly in night
scenes, the over all picture quality is quite
pleasing and easy on the eyes. Minor edge
enhancement appears throughout but nothing that
will terribly distract. The sound is mono as
originally intended. There are no extras. |
