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Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. Jewish comedy writer Alvy Singer (Allen) ponders the modern quest for love and his past romance with tightly-wound WASP singer Annie Hall (Diane Keaton, née Diane Hall). The twice-divorced Alvy knows that it's not easy to find a mate when the options include pretentious New York intellectuals and lifestyle-obsessed Rolling Stone writers, but la-di-dah-ing Annie seems different. Along the rocky road of their coupling, Allen/Alvy weigh in on such topics as endless therapy, movies vs. TV, the absurdity of dating rituals, anti-Semitism, drugs, and, in one of the best set pieces, repressed Midwestern WASP insanity vs. crazy Brooklyn Jewish boisterousness. Annie wants to move to Los Angeles to find that fame that finally does in the relationship -- but not before Alvy gets in a few digs at vacuous, mantra-fixated California. Originally entitled Anhedonia (the inability to enjoy oneself), Annie Hall blended the slapstick and fantasy from such earlier Allen films as Sleeper (1973) and "Bananas" (1971) with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, Annie Hall beat out "Star Wars" for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. ~ Lucia Bozzola, Rovi
Robert Drumheller Barbara Krieger Justin Scoppa, Jr.
Others
Art Director - Mel Bourne
Associate Producer - Fred T. Gallo
Camera Operator - Fred Schuler
Camera Operator - Donald Thorin
Casting - Juliet Taylor
Cinematographer - Gordon Willis
Composer (Music Score) - John Jacob Loeb
Costume Designer - Ralph Lauren
Costume Designer - Nancy McArdle
Costume Designer - Ruth Morley
Costume Designer - George Newman
Costume Designer - Marilyn Putnam
Executive Producer - Robert Greenhut
Featured Music - Isham Jones
Featured Music - Gus Kahn
First Assistant Director - Fred T. Gallo
Makeup - Fern Buchner
Production Manager - Robert Greenhut
Sound/Sound Designer - James Pilcher
Sound/Sound Designer - James J. Sabat
One of the greatest pleasures of Woody Allen's early work is his ability to skewer himself while skewering the conventions of the comedy genre. Annie Hall is perhaps the best example of this: a blend of slapstick, fantasy, and bittersweet romantic comedy, it is not so much about two people falling in love as about two brains trying to negotiate a mutually beneficial symbiotic relationship. The neurotic, self-obsessed commentary on display in Annie Hall is pointed but relatively gentle, free of the bitterness that sometimes marked Allen's later work. The film is a series of insightful musings that leave the viewer feeling strangely optimistic--or at least very amused--about human nature. Much of this is due to Alvy and Annie themselves--unlike the oddly but perfectly matched couples fated to walk off into the sunset in the majority of romantic comedies, Alvy and Annie are consigned to further introspection, obsessive analysis, and bittersweet reflection. Part of the appeal of Annie Hall is that there are no pat answers: in watching the struggles of the characters, we see a reflection of our own struggles, without the condescending message that everything will be fine in the end. Annie Hall elevated Allen to the forefront of contemporary filmmakers, promoting him from a comedian who happened to make films to a comic filmmaker. The film also set a new standard for romantic comedies, its name alone becoming synonymous with the sub-genre of the intelligent, New York-based romantic comedy. On a less far-reaching scale, it also launched a fashion trend, with Diane Keaton's baggy menswear providing a welcome alternative to polyester pantsuits and flared trousers, anticipating the craze for androgynous clothing by almost twenty years. ~ Rebecca Flint Marx, Rovi
Diane Keaton : Best Actress - British Academy of Film and Televisio, 1977
Woody Allen : Best Director - British Academy of Film and Televisio, 1977
Ralph Rosenblum : Best Editing - British Academy of Film and Televisio, 1977
Woody Allen : Best Picture - British Academy of Film and Televisio, 1977
Woody Allen : Best Screenplay - British Academy of Film and Televisio, 1977
Marshall Brickman : Best Screenplay - British Academy of Film and Televisio, 1977
Woody Allen : Best Director - Directors Guild of America, 1977
Woody Allen : Best Director - Hollywood Foreign Press Association, 1977
Woody Allen : Best Performance by an Actor in a Motion Picture - Musical or Comedy - Hollywood Foreign Press Association, 1977
Diane Keaton : Best Performance by an Actress in a Motion Picture - Musical or Comedy - Hollywood Foreign Press Association, 1977
Woody Allen : Best Screenplay - Hollywood Foreign Press Association, 1977
Diane Keaton : Best Supporting Actress - National Board of Review, 1977
Diane Keaton : Best Actress - National Society of Film Critics, 1977
Diane Keaton : Best Actress - New York Film Critics Circle, 1977
Woody Allen : Best Director - New York Film Critics Circle, 1977
Woody Allen : Best Screenplay - New York Film Critics Circle, 1977
Marshall Brickman : Best Screenplay - New York Film Critics Circle, 1977
Woody Allen : Best Actor - Academy of Motion Picture Arts and Sc, 1977
Diane Keaton : Best Actress - Academy of Motion Picture Arts and Sc, 1977
Woody Allen : Best Director - Academy of Motion Picture Arts and Sc, 1977
Woody Allen : Best Original Screenplay - Academy of Motion Picture Arts and Sc, 1977
Marshall Brickman : Best Original Screenplay - Academy of Motion Picture Arts and Sc, 1977
Charles H. Joffe : Best Picture - Academy of Motion Picture Arts and Sc, 1977
Woody Allen : Best Screenplay - Los Angeles Film Critics Association, 1977
Marshall Brickman : Best Screenplay - Los Angeles Film Critics Association, 1977
