I know it sounds clichéd, but this is my favorite Woody Allen film

Rating: 10/10 (15 February 2012)

Actually that is a brand-new thought since before last Saturday I would refer to THE PURPLE ROSE OF THE CAIRO as my favorite Woody Allen. Watching ANNIE HALL again was marvelous; it was only my second time with it, and the first one was years ago, when I was a kid. I didn't fully appreciate it and I even thought of it as probably Allen's most over-rated film. Last Saturday night was pretty much incredible: there's a new drive-in theater in my city (first one in many years) and I went for the very first time, with my girlfriend to see ANNIE HALL on the big screen (for the very first time). It blew my mind. It has everything. It is Allen's masterpiece, by far. And I have to thank my girlfriend since without her almost new love for Allen I would have not been re-watching this or watching for the very first time minor works like ANOTHER WOMAN.
Anyway, like with any other real classic I ask myself: what else can I write about it? Maybe I will just share how I was blown anyway with some moments. I recalled some classic stuff, like Allen (as character Alvy) suffering in the line for THE SORROW AND THE PITY thanks to an annoying and supposedly clever guy! I mean, when you are in a similar situation, that IS the scene you always recall! But I had forgotten other elements, and I was completely marveled by it (and I had forgotten also some jokes – everybody always recall the opening of the film or some lines, but no one goes for the thing with the African American maid! I laughed my head off!); for instance, I recently watched WHATEVER WORKS (Allen's 2008 picture) and pointed out how things like having the main character talking to the audience and stuff felt pretty much like a pointless element. Here, on the contrary, everything that is in that same vein feels -in a word- brilliant. And yes, ANNIE HALL features a quite beautiful take on relationships; obviously at this point in my life, I thought of it in a much different way than years ago. There are some really touching moments, and certainly there's nothing better than this when it comes to thinking in Allen and Diane Keaton together. But the greatest thing about this film is how it feels just like an example of Allen's genius. Certainly what's in his mind is always present, like his not very kind opinion of Hollywood (I didn't remember, by the way, that Paul Simon, from Simon & Garfunkel, is here pretty damn cool!), but sometimes we even have a visual representation of it. He is doing whatever he wanted to; he is bringing Marshall McLuhan to the screen and he is not caring too much about Bob Dylan! Hell, there's even some animation so yes, think of this as the finest example of why Woody Allen is one of the masters.
*Watched it (again) on February 11, 2012 (at a drive-in theater).