SPOILER ALERT! The plot of
the movie will be discussed.
Woody Allen’s 1977 film,
which won the Oscar, (beating out Star
Wars), is a portrait of the artist as an alienated man. Allen exhibits this
outsider predicament through the story line, but also with various cinematic
techniques. In real life, Allen, and in the movie, his surrogate character,
Alvy Singer, are powerless to satisfactorily interface with the world around
them. So, they use art in an attempt to control their lives, and try to make a
connection to others.
Right from the beginning,
Alvy breaks the “fourth wall,” escaping the confines of the plot, and speaks
directly to the audience in an attempt to explain his take on existence. He notes
a joke about two women at a place in the Catskills saying how the food was
lousy, with one of them further commenting that the portions were small. Alvy
says that is how he views life – “full of loneliness and misery, and suffering,
and unhappiness. And it’s all over much too quickly.” So, despite his emphasis
on the negative, he admits that he doesn’t want to give it up, that there is
still something worth living for. That turns out to be, mostly, romantic
relationships. But, at the same time he confesses that he doesn’t have the
qualities needed to connect with others, and his feelings of inadequacy cause
him to quote Groucho Marx, or whoever made up the line, which says, “I would
never want to belong to any club that would have someone like me as a member.”
The movie skips around in
time, reflecting Alvy’s stream-of-consciousness. He says that he has a
hyperactive imagination, so his mind jumps around a lot. This is the
character’s psychological explanation for the non-linear story line. But, the
non-sequential telling of events also stresses that what we are seeing is a
work of art, with the artist having the god-like control over his invention
that a person cannot exert over his or her life. At the conclusion of his
opening speech, which is set at the end of the story about to be told, Alvy
notes that he has broken up with Annie (Diane Keaton, in an Oscar-winning
performance). Even though this tale is humorous, we know from the beginning
that this story, despite the artist’s power to manipulate events, does not end
with the principle players living happily ever after, because Allen does not
want to present a film with a rosy mindset.
This feeling of a lack of security in a
turbulent world is symbolized by Alvy growing up in a house built under a Coney
Island roller-coaster, the vibrations of which cause his home to shake. Add to
the housing situation, we have the additional image of his father running the
bumper car ride. Thus, instead of going with the flow of human traffic, Alvy continually
collides with the outside world.
Alvy’s outsider personality
makes him always at odds with others. As a youth, he saw his fellow students
and teachers as inferior. He says that the teachers didn’t fall into the
category of those who can’t do, teach, because they “couldn’t do anything.” By
placing Alvy as an adult conversing with school age children, Allen depicts the
distance Alvy felt between himself and his classmates. For instance, Alvy had
sexual impulses toward the girls long before puberty. But, Allen’s technique
also shows how we remember the friends we have lost touch with, frozen in memory
snapshots of the past, as we wonder what has become of them.
The famous scene which
demonstrates not only the suspicion of others promoting their mental abilities,
but also the contrast of art with real life is the one where Alvy and Annie
wait in a movie theater line. Behind them is a man who negatively critiques the
works of film directors Allen admires. The audience connects with Alvy having
to endure a know-it-all loudmouth. The man then mentions the work of Marshall
McLuhan in the field of communication theory. Alvy then steps out of the
verisimilitude of the story and again addresses the audience along with the man
in line. Alvy then mixes true reality into the film by bringing the real McLuhan
into the movie frame, who then tells the man in line that he knows nothing of
his work. Alvy then says to the camera “Boy, if life were only like this.” Alvy
literally does not fit in within the “realistic” parameters of the story, so Allen,
the artist, allows his stand-in, Alvy, to escape the “plot” of his life, which
he finds hostile, and exist in an unscripted world which accommodates his point
of view.
Because Alvy feels that
society excludes him, he sees himself as a victim, Thus, he finds comfort in
embracing anti-establishment conspiracy theories. Because his Jewish background
provides historical proof of persecution, he suspects anti-Semitic references
in the speech patterns of others; he hears “Jew,” when someone says, “D’you.” He
fears that the rest of the country considers him and his fellow New Yorkers to
be “left-wing, Communist, Jewish, homosexual pornographers.” He interrupts
lovemaking with his first wife, Allison (Carol Kane), because he can’t get the
conspiracy argument against the lone gunman theory concerning the assassination
of John F. Kennedy out of his head. However, Allison, rightly says he is just
using this preoccupation to avoid being intimate with her. His outsider mindset
won’t allow him to believe that she would want him.
So why does the loner Alvy,
at least to a greater degree than with others, establish a bond with Annie? Because
when they first meet, she looks more like an outsider than he does. She is
awkward in her speech as she tries to show her interest in Alvy. Visually, she
doesn’t conform, her male clothing colliding with her feminine identity. She
drives badly (as we see later, so does Alvy). And, like him, she is
uncomfortable when someone praises her. For example, when he compliments her on
her singing, she looks like she wants to run away. Allen cinematically
emphasizes their mutual inability to express themselves with another person by
putting subtitles on the screen which show the hidden meanings behind their
spoken words. Another noteworthy episode shows the two trying to cook lobsters.
Here, they are awkward. but they are accepting of each other’s ineptness, and
can laugh and enjoy their alienation together. They sit and have fun watching
people walking past them, making up their backstories. (Observing one man, Alvy
says he wins the Truman Capote look-alike contest. It is, in fact, Capote, as
Allen again intermixes realistic storytelling with artistic manipulation). Alvy
feels comfortable exposing Annie to his bleak, off-putting view on life, taking
her to a bookstore, and buying her works dealing with death. He tells her that
he sees life is divided, “between the horrible and the miserable.” The horrible
consist of “terminal cases,” and “blind” and “crippled” people. And, “the
miserable is everyone else.” So, he tells Annie, “you should be happy you’re
miserable,” because that’s the luckiest one can be in the world according to
Alvy.
But, Alvy’s inability to feel
at home even with Annie surfaces. When she wants to move in with him, he
resists, saying that her apartment allows them the independence that is missing
in cohabitation. But, conversely, he wants to keep her on a leash for himself,
not wanting to go to parties with her, which might cause Annie to connect with
inhabitants of the rest of the world, who he would rather avoid. He says to
her, “What do we need other people for?” He may feel closer to her than anyone
else, but he keeps trying to change her, urging her to take adult education
courses. He sees this advice as helping Annie grow intellectually, but she
feels that Alvy is judging her for not being smart enough for him. When she does
take courses to improve herself, he acts hostile as she becomes more assertive
and independent. He now reverts to his anti-intellectual stance, calling the
courses “mental masturbation.” Annie responds by saying masturbation is a
subject Alvy excels at. Alvy then delivers the line, “Hey, don’t knock
masturbation. It’s sex with someone I love.” Very funny, yes, but also
revealing. It stresses his separateness, his inability to share true emotional
intimacy with another. He never really says that he loves Annie. He seems to
only get satisfaction from himself. Even in Alvy’s animated fantasy, he can’t
achieve bliss with another, as Annie becomes the wicked Queen, and they have
the same arguments they have in his real life.
Allen visually reveals their estrangement by having
Annie project an out-of-body ghostly version of herself as she and Alvy start
to make love. It illustrates how emotionally detached from him she has become.
When the two are in respective therapy sessions, Allen uses the split screen
technique to show the opposing takes on their sexual activity: she sees three
times a week as having sex “constantly,” while he sees it as occurring “hardly
ever.” She tells Alvy that she discussed a dream she had with her therapist
which involved Frank Sinatra smothering her. Her therapist said that she
subconsciously substituted Sinatra for Alvy, whose last name is Singer. Thus,
the implication is that Alvy is trying to stop Annie from evolving.
After a previous noisy,
distracting singing engagement, Annie performs to an attentive audience. After
her set, a music producer, Tony Lacey (Paul Simon) approaches her and offers
her a chance to record in California. Of course, Alvy is against it, but they
do go to LA. She enjoys Lacey’s company and his entourage. She and Alvy decide
that they have grown too far apart, and separate when they return to New York.
Alvy delivers one of my favorite lines from the film. He says that a
relationship is like a shark: it has to keep moving to exist, and “what we got
on our hands, is a dead shark.” When they divide up their things, Annie gives
Allen his political buttons, which are against every president, except Kennedy,
in his lifetime. Humorous, but also a telling reminder of how long Alvy has
felt estranged from mainstream American life.
He finds out that she is
living with Lacey (Allen said he wanted Alvy to lose the girl to someone
shorter than himself to emphasize Alvy’s lack of self-esteem. This is a man who
already said he was one of the few men who suffers from “penis envy”). He goes
out of his comfort zone, and flies to LA. He even drives to meet Annie at a
restaurant, and his lack of automobile skills is evident in his halting
maneuvers. When they meet, he now asks her to marry him, hoping to get her
back. Annie sums him up pretty well when she says, “You’re incapable of
enjoying life. You know that? I mean you’re like New York City … You’re like
this island unto yourself.” (One of the possible titles for the film was
“Anhedonia,” which is the inability to get pleasure.) Alvy seemed to consider
New York as the black sheep in the American family, so it is fitting that he
identifies with it so much. As he attempts to drive away, he keeps whacking
into things. We get images of his father’s bumper car ride. So, from the
beginning of Alvy’s life to now, he keeps slamming up against the world around
him.
Alvy writes a play based on
his relationship with Annie, but he has her coming back to him at the end. Alvy
tells the audience, it was his first play, and one wants things to come out
perfect in art. But, Allen, who has shown us how as a filmmaker he can bend his
art to his wishes, is experienced enough to know that this story would seem inauthentic
if it had the typical movie happy ending. He does say that he met Annie again
later on. She had moved back to New York, and dragged her new boyfriend to a
viewing of the Sorrow and the Pity,
the anti-Nazi documentary, a fact that makes Alvy feel he had a positive
influence on Annie. They have a good reunion, as we view shots of their past
experiences together, with Annie singing “Seems Like Old Times.”
The movie ends as it began, with
Alvy addressing the audience. After his meeting with Annie, he tells a joke
about a man whose brother is crazy because he thinks he’s a chicken. He doesn’t
commit him because, he says, he needs the eggs. That is how Alvy now thinks of
relationships, because, “they’re totally irrational, and crazy, and absurd …
but, uh, I guess we keep goin’ through it because, uh, most of us, … need the
eggs.” So, even though he is a confirmed outsider with self-esteem problems,
and sabotages all his social involvements, he feels compelled to keep trying to
connect with others, for those few “good times.”
The next film is The
Talented Mr. Ripley.
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