There has never been a thorough way of stamping down individuality and strength. Even during society’s most oppressive states, humans have found ways of expressing themselves through one way or another, even if not always in the most obvious form. Sometimes, though, these assertions of self are so incredibly in plain view that they become easy to entirely overlook, as is the case with the role fashion has played in solidifying female identity in film. Long dismissed as mere cosmetics and playing dress-up, women’s cinematic fashions have nevertheless inspired far-reaching cultural trends by reflecting or encouraging resilience.
Tag: Annie Hall
The question of where the momentous artistic energy generated by the late 1960s would lead must’ve loomed large in the minds of Hollywood executives as they witnessed the dismantling of the studio system and rise of the American auteur. What kind of institution would the Academy become after awarding the X-rated Midnight Cowboy Best Picture? Would grafting the European director/creator model across the pond be successful? Coppola, Friedkin and Stallone, among others, responded with a resounding affirmation, driving the Hollywood into the American New Wave, where freedom reigned and masculinity was on hyperdrive.
ANNIE HALL is a gift from the gods, one of those untouchables bestowed on moviegoers every once in a while. I cringed when I heard the absurd idea that a planned sequel is being considered. Perfection cannot be improved upon and ANNIE HALL is a perfect film, no doubt about it.
By: Andrew Palmacci
Annie Hall – dir. Woody Allen – 1977 – Original Theatrical Trailer
Annie Hall, the quintessential romantic comedy, begins and ends with a total of three jokes that Woody Allen’s character recounts to the audience—the first two at the beginning of the film with Allen speaking directly to the camera, the last as narration over scenes of his Alvie hanging out with love interest par excellence (in this movie as well as in movies themselves) Annie Hall. The first two jokes concern, respectively, a love-hate relationship with life and a paradoxical approach to relationships, with the concluding one coming back to an ambivalent perspective on romantic relations. In between these humorous bookends, Allen manages to pull out a remarkable number of (mostly humorous, always endearing) stops to build the archetypal modern romantic comedy.
By Jess Wilton
There is already a â€œfilm noteâ€ that covers the fundamentals of Annie Hall 101â€”its importance as a turning point in Woody Allenâ€™s career, its influence within the genre, autobiographical aspects, and much more. Therefore, for the benefit of all the shivering couples and forlorn singles who will be revisiting this masterful work of romantic comedy in anticipation of yet another Valentineâ€™s Day, Iâ€™d like to approach the film as a twitchy urbaniteâ€™s guidebook for understanding men, women, and relationships. This may not sound like the most practical approach to lifeâ€™s greatest mysteries, but itâ€™s cheaper than therapy and easier than most forms of selfimprovement. I also suspect that many of us, model our lives and relationships after their favorite cinematic romances. And after all, if we canâ€™t look to Uncle Woody for insight on life and love, where can we turn?