npc@electron.physics.arizona.edu (Nick Christenson) (06/11/91)
In article <1991Jun9.070254.11134@zerkalo.harvard.edu> graham@UG.CS.DAL.CA (Michael Graham) writes: >"Manhattan" by Woody Allen is one of, if not, my all-time favorite films. Yes, Manhattan is an excellent film, but I think it is less deep than some of his others so while it may be better than many, IMHO there is less to talk about, hence the expanded Subject: line. There are some great gags in the movie: Isaac Davis' (WA) ex-wife turned Lesbian writes a book about their relationship (how cruel can you get! What a nightmare!) BTW, just in case there is an interested party who doesn't know, the Clarinet solo (Rhapsody in Blue by Gershwin) at the beginning of the movie is played by Mr. Allen himself. >Comment on any of WA's films would be interesting to read. I have seen all >but 4 or 5 of his movies (the more obscure ones). I have seen nearly all of his films and my two favorite to talk about are Zelig and Crimes and Misdemeanors. *Warning! Zelig Spoiler followed by Crimes and Misdemeansors Spoiler!* Zelig is a great metaphor for the desire to conform and the movie is (ostensibly) about a man who has this acutely and his attempt to rid himself of this malady. My opinion is that Zelig at the end of the movie is *much*more* of a conformist than he is in his Chamelion state at the beginning. Before he is meeting interesting people, doing interesting things and by the end of the movie he is a traditional debutante with *no* individual qualities or experiences. Comments? In C&M, first, Martin Landau does a *phenomenal* acting job. Woody Allen casts himself perfectly, Alan Alda is a scream and even Mia Farrow does an extremely good job and is very believable in her role. The writing and especially the directing (attitudes and facial expressions) are simply outstanding. In C&M, the use of eyes as symbolism is terrific. Here we have an Opthemologist (M. Landau) who recalls as a kid his pious Jewish father's words, "The eys of God are upon you." He gets advice from his patient, Ben, a Rabbi who is not only a true saint, but full of the joy of life. Ben is going blind and by the end of the movie is completely blind. I believe that Ben symbolizes God and that "God goes blind" through the course of the movie, or does He? Ben, blind, is still enjoying the full of life while the criminal (M. Landau) seems to get away with his terrible crime but feels the guilt. Is there a higher justice as his father suggests or does might make right as his mother says (his flashback in his old house of his family's dinner party.) Or as the philosopher suggests, is the moral structure of the universe whatever we impose on it? Or is justice relative? If you watch the movie again, look for things (headlights, lighting, etc.) that suggest the metaphor of "eyes." I'm looking forward to responses. Please post. >-- >Michael Graham | "Well she's not really my half sister...err... >graham@ug.cs.dal.ca | more like 2/5ths" >mgraham@ac.dal.ca | - Diane Keaton, Love and Death Nick Christenson, Physics graduate student, University of Arizona. npc@electron.physics.arizona.edu christnp@thor.acc.stolaf.edu #include <disclaimer.h>