This is certainly Woody's greatest film to date. It is not only riotously funny, but also compellingly human, with a warmth, genuineness and sincerity not so easily detected in some of the director's later films.

It is common to read Woody Allen's films in self-referential terms, the legitimacy of which he himself denies. His films, however, virtually cry out for such an interpretation, concerned as they are with the complex and often blurred interrelations of life and art, reality and fantasy (as here, and also, most notably, Deconstructing Harry, almost twenty years later). Plus Woody makes it so tempting to view his main characters not as "Alvie Singer" (his name in this picture), but as "Woody Allen". Virtually all his characters are neurotic writers or comedians with problem love-lives - in other words, the person who emerges from Woody Allen's pictures is the real-life Woody Allen. In Annie Hall, Woody reflects on past relationships, in particular his relationship with the girl of the title (played by Diane Keaton). It is dramatic and funny throughout, and ends on a surprisingly touching note.

Annie Hall was a turning point for Woody toward more 'serious' and somewhat autobiobraphical films. It remains his most popular film and won 4 Accademy Awards.

The way Allen combined his New York characters with sharp satirical comments on everything from intellectual phoniness, racism and sexual angst to shared experiences like standing in line at the movies was new, fresh and original.

He re-invented the modern romantic comedy and his style has been much imitated ever since. I could see Annie Hall's influence recently in Tao of Steve.

Allen was not giving us a romantic feel good romance like a Tom Hanks/Meg Ryan film. And he's certainly not a charismatic or even charming leading man. This was an awkward, warts and all romance which was sometimes uncomfortable to watch.

The film begins with Allen as Alvy Singer talking directing to the camera and explaining that he's quite upset because he's broken up with Annie. (It doesn't quite match up, time wise when we get to the end of the film-but then the time-line throughout the film is toyed with in the style of Fellini's 8 1/2). He says:

" The other important joke for me is one that's usually attributed to Groucho Marx but I think it appears originally in Freud's wit and its relation to the unconscious - and it goes like this. I'm paraphrasing. I would never want to belong to any club that would have someone like me for a member. That's the key joke of my adult life, in terms of my relationships with women."

Alvy Singer is Allen's alter-ego -a stand up comic and Allen's quintessential New York character. This pessimistic, paranoid, is too smart to be a naive romantic, but yearns to be exactly that. He's always a fish out of water, because he is not comfortable with his own thoughts and can not accept either his good qualities nor his bad ones. So he's forever going to be in analysis. He is impatient with everyone-including himself and has to whine about everything that bothers him. He has a propensity to say the wrong thing at the wrong time and to wait too long to say the right thing. He'll let something slip out of his mouth uncensored, and when he tries to soften it, he only makes it worse. Yet he actually means no harm. He's merely rejecting everything he can before it ultimately rejects him. His fears and paranoias are worn on his sleeve. He'll not be hurt, because who would want to get past all his 'stuff' to really get to know him and have an opportunity to hurt him. He wears his inferiority complex as both a security blanket and a suit of armor.

And then there is Annie. A women who is utterly vulnerable, yet extremely tough. Someone who refuses to be pessimistic but is ready for a change because the path she has been on has not led to anything or anyone substantial. Maybe Alvy is perfect for her. Annie is smart, but not as intellectual or well read as Alvy. She's a bundle of scattered energy and feels the need to smoke dope before she has sex. She's full of insecurities but she's trying to over come them, not wear them like a security blanket. Annie lacks confidence, but she isn't afraid. She doesn't believe in herself, but she knows she should and really wants to. She knows she needs to grow and change and she knows Alvy might help her do that-even if as she grows and change she leaves Alvy behind.

And so we have the bittersweet romance. And it's because the film is first about the romance and then about Allen's obsessions and interests that made the film his most popular.

Nearly all of the film's scenes are laugh out loud funny. Some are laying bare the relationship, some are exposing Alvy's neuroses or forcing us to recognize how ridiculous people can be. Some are full brilliant comic inventiveness-such as when the class room of kids stand up and as little kids, with children's voices tell us what they are doing now. One is a plumber, another is a junkie, another is into leather.

Annie Hall may be full of sharp observance but it keeps its distance from the audience with it's almost too clever gimmicks. Woody breaks the fourth wall and talks directly to the camera several times during the film. He uses surrealistic gags, and even a brief animated sequence in the film. He even has Paul Simon playing a record producer who really likes Annie Hall. We get several New York versus Los Angeles jokes, that seem a bit stale now. We also get the funny subtitle scene. Annie Hall is less personal and intimate than Allen's next film would be (Manhattan)but it's a little funnier.

And let's not forget the film also had an amazing fashion influence. The Annie Hall look is still with us.

OF INTEREST:

The relationship between Alvy and Annie is full of easy to make real life parallels. The film's title incorporates Diane Keaton's real name- Diane Hall and her nickname Annie.

Carol Kane has a small role as Alvy's first wife.

Christopher Walken has a small role playing Annie Hall's brother who confesses having suicidal thoughts to Alvy.

Jeff Goldblum is seen briefly, but memorably as part of the Los Angeles party scene. He is on the phone and says: "I forgot my mantra."

Chris Jarmick, Author of The Glass Cocoon with Serena F. Holder Available End of January 2001. Thanks for pre-ordering your copy.

'Annie Hall' has been called the first modern romantic comedy, but it is actually the ultimate anti-romantic comedy. Where the movement of the classic rom-com is the union of two mismatched lovers, the kiss, marriage - a forward movement which is' in effect' sexual sublimation - 'Annie Hall' begins with its romance's break-up, and proceeds with a vignette narrative structure, in which time and space are fragmented: far from gathering any momentum, the film, with is modest highs and lows, kind of peters out, just like romance in real-life.

'Annie Hall' is, as everyone knows, the first truly great Woody Allen movie. All the cherishable elements from his previous films are here - the nervy wisecracks (which, far from containing life's anguish, seem to helplessly acknowledge the impossibility of ever doing so); the visual and narrative trickery; the flippant allusions etc. - but are given depth and feeling by the focus on character. The opening monologue sets the tone - Alvy's stand-up routine (an address to the public) as confession (private): this is a relationship constantly being pushed into social situations (family, parties, night classes etc.).

The movements through time and space, the documentary feel for real locations, the recognition of the emotional import of seemingly trivial events, all combine to create a complex picture of people alive and in love in a particular place and time. In the case of Alvy especially, these elements serve to reveal the character his joking is at pains to deflect.

The film is the closest American film every came to the spontaneity of the French New Wave, without being cripplingly self-conscious about it - the inventive chopping between visual registers and narrative moods; the romanticising of city life; the seemingly casual, but crucial and resonant, allusions to films, books, music etc.; the satire of cultural pretensions; above all, the very modern, elusive relationship at its centre - all creating a film as fresh, funny and poignant as the day it was made, one done a great disservice by its sappy imitators. Diane Keaton has rarely been more enchanting, the fluidity between herself and her character so evident, she seems to be laughing with us at the film she's in.

THIS BOOK ROCKS!! Not only does this book bring the reader great rock and roll stories (not to mention amazing photography that chronicles the bands' evolution), but it also revealed Phish's deep love and understanding of music. I have never really understood what it's like to create music -- writing, recording, playing, backstage, performing, on the road -- until now. What Trey, Mike, Page, Jon and Tom have to say about writing and recording is profound.

I think this this is a must read for ALL music lovers.

The first thing you want to do when you get your hands on this book is flip through every single page and absorb all the amazing photographs. For those of us obsessed with the music of this remarkable band, the pictures of the early days and even those of more recent times are priceless. Combine all that with the free-form roundtable discussions of Trey, Mike, Page, and Jon and you've got a wonderful piece. This is not your typical rock-n-roll book -- no wild tales of scandal or debauchery on the road. Instead we gain real insight into the workings of one of the greatest live acts ever, from a band that's been around for nearly 15 years now. Co-author Gehr is to be commended. His insights are smart, his feelings genuine -- and he admirably keeps them to an absolute minimum, instead deferring to the band's own words for the majority of the book. An absolute must read for any fan of Phish. And if you are not a fan ... what are you waiting for?

Whether you first saw Phish in the cafeteria at Goddard College or the Lemonwheel, the Phish Book needs to be in your library. Gehr maintains an objectivity that is difficult when one realizes how much time he spent with Trey, Mike, Page & Jon. A great companion to the Almanac.

After reading the introduction to this book, I realized that Bruce Lee may just be thought of as one of the most powerful thinkers of the 20th century. His ability to express his personal views on life and everything around us in very few words,yet, pack each statement with such power, is phenomenol.To pick up this book, and just read a couple of pages, leaves me with heartfelt inspiration. Inspiration that i take into my day, and put it into my daily actions.

I am enlightened and motivated by Bruce Lee's insight into the human condition. I am a student of Jeet Kune Do; his words hit harder than his punches ever will! Our foremost perceptions of Bruce Lee's life are bound to images of a martial arts master; however, in this book we see a very different Bruce Lee. His words of wisdom are easy to read and are more importantly, easy to apply to one's life.

To all, even with no previous knowledge of Bruce Lee this is a book which those of a philosophical nature, liking to question many things in life an look for inspiration about many aspects of life must read! it is a deeply inpsirational book spanning many thoughts on many aspects of life an human beings. many just know him as a movie 'star,' but not many know the other side of his life, his philosophy! it is a deep insight into his thoughts and feelings which many dont take into account when discussing him but in all totality he was a great man with a great mind who shouldnt just be ignored! but those who have the chance to read his philosophy should and be inspired!!

This is an excellent book for someone who wants to know just enough Greek to enjoy a vacation. I purchased this book five weeks before a trip to Greece, and found that I could order from a menu, give directions to a taxi driver, read Greek (could not always understand it), and exchange pleasantries. Now, I would like to refresh with this book, and then find an intermediate course to continue learning such a wonderful language!

As much as my friends and myself admire Jackson's classic works, I must agree that this is a pretty mediocre collection of short stories. Because many have not been seen for over 50 years however, they certainly belong in the library of every Shirley Jackson fan. "The Possibility of Evil" is stunning. Sometimes Shirley either tried too hard, had writer's block or simply experimented with the bizarre; whatever the reason, most of her works were ahead of her time and when she was good she was the BEST-there are, unfortunately too many rather dull and uninspired stories in this collection. Shirley was the female Stephen King of her day!

that's how i felt when i saw this book on my library shelf. it helped to quell a hunger that i have had for many years. thank you laurence and sarah for compiling these works. i would love to see the out of print works of shirley jackson back on bookstore's shelves.

There has been tons of controversy over this book about whether or not is should have been published. My personal opinion is that is should not have been published because these stories were private stories and were not published for a reason. However, now it has been published and there is nothing anyone can do about it but enjoy it as a learning experience. The reason I gave the book five stars was because it is a very accurate representation of Shirley Jackson. Writing was always theraputic for her -- she used it to express the other dimensions of her life and her self which no one could understand. Writing was a way of putting everything that went on in her mind down on paper. Therefore, reading these stories is like reading her diary -- she expressed her emotions through fiction, and the variety of characters and plots that can be seen in this collection are a representation of a certain period of her life through her eyes. If you are looking for the edited fiction that made Shirley Jackson famous, this is not the book for you. However, if you are interested in the inner workings of the author's mind, this collection of stories and essays is the closest one can get.

This is a good starter book, excellent for travelling and getting around in Portugal. The audio lessons are pretty well done, but there is not a clear definition of what is brazilian vs continental portuguese pronunciation. My wife successfully used this book as the text for an introductory Portuguese class