NEW ON DVDSing Street EqualsElvis & Nixon Where To Invade NextSea Of Trees, TheStanley Kubrick Limited Edition CollectionFathers & DaughtersExpresso BongoPutuparri And The RainmakersLabyrinth Of LiesGreen RoomWide Open SkyOne Wild MomentBelier Family, TheLooking For GraceEye In The Sky45 YearsRoomGrimsbyQueen Of EarthOctober SkyConcussion (2015)TrumboGods Of EgyptDirty Grandpa Hateful Eight, TheJames WhiteRegression
Hannah And Her SistersUSA 1986
Directed by Woody Allen
Running time 106 minutes
Allen's at-the-time most commercially successful film was a watershed in his career, establishing the trademark style to be seen many, many times since, with a large ensemble cast of well-known actors playing out a semi-autobiographical Manhattan chamber piece with an overarching moral. It was enthused over critically on release when its ambitiousness impressed however its achievements have been diluted considerably by Allen’s subsequent re-iterations.
Mia Farrow plays Hannah who is married to Elliot (Michael Caine) who is in love with Hannah’s sister, Lee (Barbara Hershey), who is in an unsatisfying relationship with an anti-social painter (Max Von Sydow). Hannah other sister Holly (Dianne Weist) is a coke-snorting wannabe actress whose life is a mess, Adding to the mix is Allen’s Mickey, a television director who fears he is going to die and Farrow’s real life mother Maureen Sullivan as the girls' booze-loving former thespian mother,
Allen's screenplay which won an Oscar, divides the narrative into a series of episodes each with an opening quotation. Particularly in its early stages, reflecting Allen’s status as an autodidact, with its references to La Traviata, e.e. cummings and Mozart is a little on the too glib side, even though that is hardly incompatible with middle-brow approval. Equally it displays his skill in rolling out a neatly crafted slice-of-life story with its tidy moral message. Caine and Weist both won supporting Oscars, justified in the latter’s case perhaps but difficult to see why for Caine who is particularly clumsy in the physical scenes with Farrow and Hershey.
The film ends on a for-Allen unusually reassuring note perhaps a reflection of his then blooming relationship with Farrow, one that we now know was not to last (there is a typically self-revealing line in the film referring to child molestation of which Allen's Mickey observes: "Everyone's doing it").