Hannah and Her Sisters Reviews
I love his movies because of him, and ''Hannah and Her Sisters'' (1986) barely had Allen himself in it, and in fact, the only scenes i thorougly enjoyed were the scenes starring Allen. The rest really wasnt that interesting in my opinion, it's just a sappy romance movie about a love-hexagon between 6 people over 2 years, and it is not that funny, nor does it have any interesting characters, except Allen's and Max von Sydow's.
All in all, ''Hannah and Her Sisters'' (1986) is a fine film, but i expected more from Allen. Some consider this one of his finest films, i consider it a big disappointment.
Hannah has a very complex relationship with her sisters. She loves them dearly; however, her current husband has started an affair with her younger sister Lee while her ex-husband has fallen in love with her middle sister, Holly. Everyone tries to keep Hannah from knowing, but as it becomes more obvious, her life may fall apart.
"You just have to masturbate into a little cup."
"I think I can handle that."
Woody Allen, director of Scoop, Bananas, Annie Hall, Midnight in Paris, Alice, Manhattan, Shadows and Fog, Radio Days, Crimes and Misdemeanors, and Love and Death, delivers Hannah and her Sisters. The storyline for this felt a little cliché Allen. The characters were interesting but I almost felt like I had seen this before (I have seen a lot of Allen movies). The acting was first rate and includes Mia Farrow, Michael Caine, Dianne West, Carrie Fisher, and Max von Sydow.
"You want my husband to have a child with you?"
I came across this on cable and had to DVR it. I am a Woody Allen fan and enjoy watching his pictures for the most part. This was pretty good and a well told story but was more straightforward than I anticipated. This was okay and worth a viewing but far from Allen's best film.
"I have a feeling you're in tune with your environment."
Told in three stretches over a two-year period, "Hannah and Her Sisters" begins during Thanksgiving and ends during Thanksgiving, both dinners held at Hannah (Farrow) and her husband, Elliot's (Michael Caine), impressive New York apartment. Acting as a plot device in similar spirit to the Cookie of "Cookie's Fortune" or the Alex of "The Big Chill", the interweaving stories, in some shape or form, connect to the perpetually frazzled blonde.
As the film opens, Hannah, along with her sisters, are facing particularly difficult periods in their lives. Normally happily married, Hannah and Elliot's union begins to hit turbulence when Elliot suddenly finds himself obsessed with his wife's earthy sibling, Lee (Barbara), with whom he begins having an affair. The neurotic Lee, in turn, is currently living with a much older, antisocial artist (Max Von Sydow) she no longer finds physically or mentally arousing.
While Lee's guilt thickens, Hannah, in the meantime, is forced to act as the emotional net for her basket case sister Holly (Dianne Wiest), an ex-cocaine addict who jumps from career to career while attempting to also make it as a Broadway actress. Her failed jabs at a normal life eventually settle, however, when she begins dating Mickey (Woody Allen), Hannah's hypochondriac ex-husband.
"Hannah and Her Sisters" kicks off as warm as any one of Allen's other comedies, but as its observational progression toward character study oblivion becomes more apparent, the film turns voyeuristic - it's as though we're a fly on the wall, catching glimpses of these imperfect people at their most imperfect times. Notice how the vulnerabilities of the characters never lose their prominence even when they're putting on friendly façades for strangers, how Allen draws such subtly profound characterizations that it becomes increasingly effortless to understand these people so well it's as though we've known them since they were children. Long after "Hannah and Her Sisters" closes does one begin to realize just how masterful of a writer Allen is; he can cover up his genius with his neuroses all he wants, but to make a cast of characters feel so multidimensional in the scope of a single film is an astonishingly difficult task - for Allen, it's duck soup. He's the perceptive one in the room.
It's as if he's known people like these before. Hannah is the kindhearted success story whose need to nurture sometimes hinders her own personal growth; Lee is the intellectual who doesn't quite know where to focus her potential. Holly is the type that fantasizes about what her life could be like rather than trying to make much needed changes; Mickey closes himself off in a bubble of fear because he doesn't want to admit that a mundane life is something okay to live. Perfectly cast, the ensemble feels like one large extension of Allen's consciousness.
"Hannah and Her Sisters" is a saga of failed attempts at moviedom happiness, combining comedy and heartfelt drama with startling pathos. The characters here aren't merely characters but people, people with ticks, little confidence, doubts. How Allen so successfully pens them all I can hardly understand - just let the film do the talking instead of me.