I'm going to bring down the IMDb average for this celebrated "modern masterpiece", by dint of the simple fact that I think it's highly overrated. Watching it through, I rarely smiled, let alone laughed and had zero interest in the Jewish (pseudo-) intellectual (g)literati portrayed or their tangled love lives.

I will also break cover and say that I found the insertion of a romance between a 42 year old male and a 17 year old girl fresh out of high - school spurious to say the least. Allen writes his usual "good to be Woody" part in bedding the afore-mentioned Mariel Hemingway and the grossly overrated Diane Keaton, cramming far too many words into the screenplay to the extent that I was willing the next George Gershwin composition onto the screen to distract my attention.

In fact only Gershwin's sublime music and Gordon Willis' justly venerated cinematography impart any relief from the tedium in this very boring navel-gazing exercise in psychobabble which says precisely nothing about the human condition, at least to me.

Unfunnily serious or seriously unfunny, either works for me...

Woody Allen has been churning out mediocre films for so long now that it's easy to forget how good some of his older films were. "Manhattan" is the product of Allen's "mature" 1970s phase, the phase that also produced "Annie Hall" and "Interiors," and it's a wonderful film. It's not the plot that makes it singular -- it's typical upper-crust New York Allen, full of neurotic people in therapy cheating on one another and making mistake after mistake in their pursuit of what they think will make them happy. No, what makes "Manhattan" so effective is its style. Filmed in black and white (because, as Allen's character says in an opening voice over, New York is a city that has always and will always exist in black and white),the film is a love letter to NYC, and it suggests that the neuroses that fill its denizens are as much a part of the city's character as its architecture, culture and diversity. I would instantly be annoyed by the people that populate Allen's films if I met them in any other context. As it is, I can't imagine any Allen film (at least not one set in New York) without them.

Grade: A

Woody Allen is not for everybody and he is not the most consistent of directors, being hit-and-miss since Husbands and Wives(personal opinion that is). His best work to me spanned from late 70s to early/mid 90s, and Manhattan is a fine example of Allen at his best. Visually it is one of Allen's most technically accomplished and beautiful films, the cinematography is so fluid and Manhattan has to have one of the best depictions of New York on film. George Gershwin's music fits perfectly, whether upbeat, seductive or melancholic. How it meshed with the imagery and cinematography further added to the poignancy. The screenplay is one of the best of any Woody Allen film(personal vote for best is Annie Hall, one of the greatest scripts ever),one of his wittiest, most acerbic- the opening voice-over stands out- yet also perhaps his most emotionally investing. The trademark self-mockery and sharp observations are all here, and you could go as far to say that Manhattan is also one of Allen's most truthful, a lot of what is picked upon is true and come across so bluntly that it's painful which makes it all affecting. The story is paced deliberately but the telling of it is very compelling, with its fair share of hilarious and touching moments. If there was a list of Woody Allen films that merged comedy and drama the most effectively, Manhattan would definitely be on the list and towards the top. The characters are very human and handled gracefully rather than being boorish. They are not likable by all means, but considering Allen's tendency to make fun of things and people and to funny and honest effect it's clear that Allen wasn't intending them to be likable. The performances are top-notch, Allen admittedly works better in the comedic moments but he's still great, it is fun to see Meryl Streep in an early role and Michael Murphy and Anne Byrne are fine in support roles. Mariel Hemingway's vulnerability helps you relate to her without manipulating you to do so, but the best performance comes from Diane Keaton, at home in both comedy and drama she is wonderful throughout. All in all, a Woody Allen masterpiece, and don't let the 17/42-age relationship distract you too much as it is handled much more tastefully than it could easily have done. 10/10 Bethany Cox