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آنی هال
وودی آلن نمونهی مطالعاتی منحصربهفردیست که عدهای او را در حد شمایلی فسلفی برکشیدهاند و عدهی دیگری جایگاهی بیشتر از یک مسخرهباز مهملگوی بامزه برایش قائل نیستند. ولی خب چه اهمیتی دارد وقتی فیلمها و نوشتههای او پیش روی ما هستند و تعدادی از آنها بهواقع مهم، اثرگذار و درخشانند. همین نمونهی مثالی «آنیهال» را در نظر بیاوریم، کفایت میکند برای فهم این نکته که چهقدر یک فیلمساز میتواند بازتابدهندهی روح جهان معاصرش، اذهان مردم یک دهه، تاریخ و معماری شهرش و شخصیسازی همهی اینها از منظر تصویرکردن لحظههایی گسسته و متفرّق از زندگی خودش در فیلمش باشد. تکنگاری «آنی هال» را پیتر وولن برای شناخت بهتر فیلمی نوشته که بهواقع هم مسیر درست شناختش همین مسیریست که وولن در کتابش طی کرده است. وولن در این کتاب با در نظر گرفتن شخصیت خود آلن نویسنده، بازیگر، فیلمساز و استندآپ کمدین آمریکایی یا به زبانی بهتر نیویورکی، تکنگاریاش را شروع کرده و سپس به آنیهال، اهمیت و ماجراهایش پرداخته است. اینکه چگونه این فیلم شکل گرفته، آلن چه کاری در تصویر انجام داده و ستایشاش از منهتن عزیزش را با چه سبک و سیاقی پیش برده و به سرانجام رسانده، مهمترین بخشهای این کتاب کوتاه است که نکتههای بسیاری برای همهی شیفتگان این فیلم عزیز دارد و خواندنش را لذتبخشتر میکند.
- GenresFilm
96 pages, Paperback
First published September 1, 1996
2 people are currently reading
68 people want to read
About the author
Peter Cowie
121 books16 followersPeter Cowie is a film historian and author of more than thirty books on film. In 1963 he was the founder/publisher and general editor of the annual International Film Guide, a survey of worldwide film production.
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Displaying 1 - 7 of 7 reviews
October 29, 2019
Sometimes I say that Annie Hall is my favorite film. Let's say it's at least in my top ten. So this book was right in my wheelhouse. Even after the early gaffe the author makes alluding to Allen playing the saxophone in a jazz band (he plays the clarinet) I found the book engaging, if not a totally satisfying analysis of what makes Annie Hall so great.
December 14, 2009
Worth it for the glossary at the end, in which Cowie provides a list of all of the cultural references made throughout the film. The list is staggering.
August 25, 2024
'Annie Hall' was, until 'Midnight in Paris', my favourite Woody Allen film, and it may still be depending on what day you ask me. Funny, clever, at times surprisingly moving and accessible, it is a movie that will certainly continue to be emblematic of its creator long after he has departed this Earth. On that basis it seems fair enough that this movie gets the British Film Institute Classics treatment, and Peter Cowie's monograph is quite successful, exploring most aspects of its production and reception. That it could be longer is arguable, and perhaps more could be said about its filming. Having said that, if you are a fan of the movie and of Allen, then this will be a rewarding text.
Annie Hall spends squite a deal of its narrative exploring Allen's career and cinematic vision, and if one was looking for an introduction to his work on film this book does a fine job summarising key issues. For example, Cowie makes it clear for anyone who might be unaware that Allen draws on the Jewish comedy traditions of the Marx Brothers and Mort Sahl, whilst also looking to the films of Ingmar Bergman. It seems an odd pairing, yet if one watches Allen's movies such as 'Annie Hall' and others in the more comedic vein of his corpus it's rather easy to see. Cowie is astute enough to understand that the reader needs these skeins of Allen's movie making unravelled somewhat. One can clearly see how the film maker melds these influences in this movie, and Cowie explains it all succinctly and effectively.
Cowie also reviews the casting of 'Annie Hall' in his monograph, and in my opinion nails them all. That he recognises the importance of Diane Keaton to the film is an obvious necessity, but he also comments on the role of Tony Roberts in the movie, and less prominent performers such as Carol Kane, Janet Margolin, Colleen Dewhurst, Chrisopher Walken, Shelly Duval, Paul Simon and Jeff Goldblum, is most helpful. Yes, this is Allen and Keaton's film, but the collective value of the cast makes certain that 'Annie Hall' escapes the potential claim of being self-indulgent.
Where this book excels is its analysis of Allen's directorial style. Considering this is a romantic comedy that could have been oh so conventional, Cowie notes the numerous camera and editing techniques that elevate the movie beyond its context and script. Allen uses animation, split screens, breaks the fourth wall and subtitles in such a way to surprise the viewer, make them laugh and also probe for a more cerebral response. This book makes sure that the reader and film viewer understands the importance of these techniques in making 'Annie Hall' so very good.
Where I think Cowie falls down, and he is not alone when it comes to any movie study such as this, is that he spends quite some time retelling the plot of 'Annie Hall'. It might've been better if he was less pedantic as to telling the reader what happens in the movie; after all, it's almost certain that the reader of this book has already seen the movie beforehand, perhaps many times. Still, there are reasons why he does what he does, and there is no gap between what is on the screen and what is in Cowie's book.
A final complement needs to be served to Cowie on the inclusion of a cultural glossary at the end of this monograph. As he quite rightly states in his narrative, 'Annie Hall' is very much of its time, and many of the references will be lost on more contemporary viewers. Throw in the location specific aspects of the movie (Cowie notes this film is Allen's first real New York story) and having the support of such a resource in this book is quite helpful.
All up Annie Hall is a more than adequate study of a truly great film, supplemented by its analysis of the work of its creator, Woody Allen. Cowie's book is a must read for fans of Allen, students of film and comedy, and anyone who wants to learn more about an iconic motion picture.
Annie Hall spends squite a deal of its narrative exploring Allen's career and cinematic vision, and if one was looking for an introduction to his work on film this book does a fine job summarising key issues. For example, Cowie makes it clear for anyone who might be unaware that Allen draws on the Jewish comedy traditions of the Marx Brothers and Mort Sahl, whilst also looking to the films of Ingmar Bergman. It seems an odd pairing, yet if one watches Allen's movies such as 'Annie Hall' and others in the more comedic vein of his corpus it's rather easy to see. Cowie is astute enough to understand that the reader needs these skeins of Allen's movie making unravelled somewhat. One can clearly see how the film maker melds these influences in this movie, and Cowie explains it all succinctly and effectively.
Cowie also reviews the casting of 'Annie Hall' in his monograph, and in my opinion nails them all. That he recognises the importance of Diane Keaton to the film is an obvious necessity, but he also comments on the role of Tony Roberts in the movie, and less prominent performers such as Carol Kane, Janet Margolin, Colleen Dewhurst, Chrisopher Walken, Shelly Duval, Paul Simon and Jeff Goldblum, is most helpful. Yes, this is Allen and Keaton's film, but the collective value of the cast makes certain that 'Annie Hall' escapes the potential claim of being self-indulgent.
Where this book excels is its analysis of Allen's directorial style. Considering this is a romantic comedy that could have been oh so conventional, Cowie notes the numerous camera and editing techniques that elevate the movie beyond its context and script. Allen uses animation, split screens, breaks the fourth wall and subtitles in such a way to surprise the viewer, make them laugh and also probe for a more cerebral response. This book makes sure that the reader and film viewer understands the importance of these techniques in making 'Annie Hall' so very good.
Where I think Cowie falls down, and he is not alone when it comes to any movie study such as this, is that he spends quite some time retelling the plot of 'Annie Hall'. It might've been better if he was less pedantic as to telling the reader what happens in the movie; after all, it's almost certain that the reader of this book has already seen the movie beforehand, perhaps many times. Still, there are reasons why he does what he does, and there is no gap between what is on the screen and what is in Cowie's book.
A final complement needs to be served to Cowie on the inclusion of a cultural glossary at the end of this monograph. As he quite rightly states in his narrative, 'Annie Hall' is very much of its time, and many of the references will be lost on more contemporary viewers. Throw in the location specific aspects of the movie (Cowie notes this film is Allen's first real New York story) and having the support of such a resource in this book is quite helpful.
All up Annie Hall is a more than adequate study of a truly great film, supplemented by its analysis of the work of its creator, Woody Allen. Cowie's book is a must read for fans of Allen, students of film and comedy, and anyone who wants to learn more about an iconic motion picture.
August 28, 2024
ناامید شدم.
فکر کردم فیلمنامه رو خریدم
ولی یه کتاب بود که در مورد خود وودی آلن و فیلماش و به خصوص آنی هال صحبت کرده بود.
برای من جذاب نبود.
باید برای علاقهمندان به خود وودی آلن و سینمای اون جذاب باشه ولی من حال نکردم
فکر کردم فیلمنامه رو خریدم
ولی یه کتاب بود که در مورد خود وودی آلن و فیلماش و به خصوص آنی هال صحبت کرده بود.
برای من جذاب نبود.
باید برای علاقهمندان به خود وودی آلن و سینمای اون جذاب باشه ولی من حال نکردم
February 29, 2024
خود کتاب خوبه ولی توضیحات مترجم بعضا اشتباه داره
December 25, 2025
la lista de referencias, total. buen contexto histórico y social pero es mejor la exploración de Eric Lax en Conversations with Woody Allen simplemente haciendo ctrl+F annie hall. es como ver la película (no me quejo)
January 11, 2014
A thorough delve into not only Annie Hall, but also Woody Allen's history and ongoing cinematic tendencies.
Displaying 1 - 7 of 7 reviews