Splitsider‘s Brad Becker-Parton examines the unique and revolutionary visual style of Woody Allen’s seminal film Annie Hall.
He writes, “For its massive popularity and highly accessible and iconic central performance from Diane Keaton, Annie Hall, is surprisingly experimental in its film style. Allen makes no bones about his biggest inspirations — Ingmar Bergman and other European art filmmakers — which seems like an odd style reference for an American comic but in fact gives his work a stylistic freedom unparalleled by his peers. From the very first shot, Allen breaks the fourth wall and speaks directly to the viewer, a choice that is both alienating in that it establishes a non-linear narrative structure and welcoming in that it implicates the viewer in the choices the main character makes. From there, Allen makes a series of extradiagetic style choices that includes text on screen, an elaborate analog split screen set-up, and even animation to add a personal, whimsical, fun form of expression to what is both a fairly traditional and prototypically neurotic love story at its core.”
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