As a kid, I knew “Annie Hall” (1977) as the movie that beat “Star Wars” for Best Picture, so I vaguely hated the movie without seeing it. That matchup remains one of the starkest apples-and-oranges comparisons in Oscar history, as “Star Wars” marks a sea change in filmmaking technology while “Annie Hall” is a just plain hilarious comedy.
“Annie Hall” of course won because of the makeup of Oscar voters, but – while “Star Wars” would’ve been an equally legitimate winner – I’m now mature enough to say “Annie Hall” is deserving of the statuette.
An influential rom-com
One of Woody Allen’s most respected films, “Annie Hall’s” influence can be traced down to one of my favorite rom-coms, 2009’s “(500) Days of Summer.” Both put the woman in the title, but still come from the man’s point of view. They get a tad closer to understanding women and relationships than most male-written-and-directed films but remain realistic, understanding that the frustrations of failed relationships are unavoidable.
In Diane Keaton, Allen had found an actress who matches his neurotic comedic rhythms in “Play It Again, Sam” (1972), and he smartly brings her back here. Alvy Singer’s and Annie Hall’s relationship starts with their meet-cute in a tennis session.
Annie tries to say things to extend the conversation with Allen’s semi-famous comedian Alvy and blows it at every turn, saying things out loud that would be better kept in her brain. This makes Alvy like her all the more – although her lack of Big Apple driving skills soon gives him pause.
Existing well before the age of extended childhood, Alvy is more mature than “Summer’s” Tom Hansen, because he doesn’t put Annie on a pedestal. Although “Annie Hall” is about heartbreak, it doesn’t emphasize this. When Alvy asks a random old woman on the street about relationships (one of the film’s many fun breaks from realism), she says it’s “Never something you do. That’s how people are. Love fades.”
Practical approach to love
Allen – co-writing with Marshall Brickman – is analytical and practical about love here, so the film doesn’t feature big sweeping moments of emotional pain. Despite missing that element, it’s still an all-time great rom-com simply because it’s hilarious.
The joke batting average here is about 95 percent, as Allen nails his thing where he gives a seeming non sequitur that is actually character-defining, such as “I’m one of the few males who suffers from penis envy.” Then the conversation quickly continues, not giving you time to laugh (because you don’t want to drown out the next joke), but making you giddy with the consistent humor.
It also offers pratfalls that you can’t help but guffaw at, like an off-screen dropped tray of tableware amid Annie’s intimate singing performance. My favorite is when a friend announces that cocaine is $2,000 an ounce and Alvy sneezes, creating a cloud of the stuff.
Stylistic breakthroughs
Making up for its drab New York City look, “Annie Hall” is stylistically ingenious. Alvy does voiceover explainers, breaks the fourth wall to talk to the audience, and at one point does something he wishes could happen in real life: When the loud-talker behind him in the movie theater queue spouts knowledge about Marshall McLuhan, Alvy pulls McLuhan on screen to tell the loud talker he’s full of crap.
Alvy’s and Annie’s relationship steps are enhanced by cute filmic tricks. While Alvy and Annie are verbally discussing visual art, words atop the screen show us their thoughts, which are worries about what the other person is thinking of them. Later, their therapy sessions trade off dialog in a split screen. “(500) Days of Summer’s” reality-versus-expectations split screen is a descendant of this stylistic creativity.
“Annie Hall” also tells its story out of order, flashing back for example to Alvy’s previous relationship with Carol Kane’s Allison. It’s never jarring; rather, it lets us into the neurotic mind of Alvy, as do his daily experiences (every one of which is uncomfortable), such as being accosted by pseudo-fans who seek his autograph.
Alvy’s neuroses will be relatable to many people; indeed, this has become more of a timeless film as time has gone by and anxiety and neuroses are more widely understood and normalized. Yet “Annie Hall” is never a difficult or challenging film to watch; it’s simply a delight.