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Annie Hall
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The ending of Annie Hall proved to be highly problematic for Allen. He wanted to end the film with the jailhouse scene where he is desperate to be reunited with Annie in Hollywood. Rosenblum urged him to reconsider and Allen eventually shot new footage for the final segment. In his biography, Woody: Movies From Manhattan, Julian Fox wrote "One sequence, where Alvy and Annie meet awkwardly outside the Thalia, again showing The Sorrow and the Pity, was, said Rosenblum, 'a real downer,' and was eventually confined to a single long shot, reducing Sigourney Weaver's cameo as Alvy's date to an imperceptible walk-on...Another sequence, shot on the last day of filming, had Alvy in Times Square wondering what to do about Annie, when he looks up at a flashing sign which reads, 'What are you doing, Alvy? Go to California. It's OK. She loves you.' Viewing the scene in dailies, Woody hated it so much he went to the nearest reservoir and threw the reels in. It was Rosenblum, prompted by Woody's chance remark on the denouement of the original murder script, who finally suggested ending the film on a continuation of Alvy's opening monologue - with a brief series of flashbacks to the Annie affair, accompanied by Alvy's final voice-over."
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Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation.
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The beginning of this chapter brings up the important point that Woody Allen rejects the idea that Annie Hall is autobiographical. Allen claims that all his films have a few true facts in them, but presumably that is the limit. Although Lee acknowledges this point, the chapter continues to remark on the continuity within Woody Allen’s film repertoire and refers to Allen’s private life within the commentary on the film and the philosophical ideas. The elements of philosophy are attributed to Woody Allen himself, presumably because he co-wrote the film, but throughout the chapter, the sense that these are part of Woody Allen’s philosophy is always present. Lee even comments on the name “Alvy” sounding much like the beginning of “Allen” with the ending of “Woody” and how Diane Keaton’s real last name is Hall. Lee refers to other Woody Allen films to support the philosophical ideas and explain some offhand comments in these movies.
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Considered to be 'Woody Allen's breakthrough movie' (Time), Annie Hall won* four OscarsÂ(r), including Best Picture, and established Allen as the premier auteur filmmaker. Thought by many critics to be Allen's magnum opus, Annie Hall confirmed that he had, 'completed the journey from comic to humorist, from comedy writer to wit [and] from inventive moviemaker to creative artist' (Saturday Review). Alvy Singer (Allen) is one of Manhattan's most brilliant comedians, but when it comes to romance, his delivery needs a little work. Introduced byhis best friend, Rob (Tony Roberts), Alvy falls in love with the ditzy but delightful nightclub singer, Annie Hall (Diane Keaton). When his own insecurities sabotage the affair, Annie is forced to leave Alvy for a new lifeand lover (Paul Simon)in Los Angeles. Knowing he may have lost Annie forever, Alvy's willing to go to any lengthseven driving L.A.'s freewaysto recapture the only thing that ever mattered'true love.
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Written and directed by Academy Award(R) winner Woody Allen ("Annie Hall," "Hannah and Her Sisters"), "Match Point" was produced by Letty Aronson, Gareth Wiley and Lucy Darwin. Stephen Tenenbaum served as the executive producer, with Helen Robin and Nicky Kentish Barnes co-producing, and Jack Rollins and Charles H. Joffe co-executive producing.
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Annie Hall is considered a Woody Allen classic, regarded by some to be his best work. It even beat Star Wars for the 1977 Best Picture Oscar. Read on for some juicy film trivia.
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