"Manhattan Murder Mystery" is seen as "minor Woody Allen." It's "one of his best movies of the nineties," which isn't saying much, because the nineties weren't his decade.
Still, I love "Murder Mystery" for a few reasons. First, there are the breathtaking shots of Manhattan, and especially the bathed-in-a-red-glow scene near the trash compactor where Lillian's body is to be demolished. Then, there's the score: "I Happen to Like New York" and "Sing, Sing, Sing." And there's Woody Allen's chemistry with Diane Keaton--a last-minute replacement for Mia Farrow. ("I forbid you! I forbid you! Is that what you do when I forbid you?")
But beyond this, there's the continuous alluding to "Rear Window." (When we live in New York City, we may find ourselves asking questions about our neighbors, and then doubting our own sanity.) There's the elegant "quoting" of "The Lady from Shanghai," with the famous, alarming mirror scene. And there's the wonderful savoring of *a well-built plot* ....
A plot happens when someone manipulates someone else. So, in "Murder Mystery," we have Paul murdering his wife, but then putting together an elaborate coverup. The earliest actions are an attempt to understand what has happened. The coverup itself is juicy--as juicy as the crime--because it involves doppelgängers, disguised corpses, and double-crossing. As our protagonists try to find answers in the present, they also struggle with questions about waning desire in their marriage. (A favorite theme in this Woody Allen era, which also included "Husbands and Wives.") It's unclear if Keaton's character will stay with Woody, or if she will wander into Alan Alda's bed--and the uncertainty here is almost as suspenseful as the business surrounding the murder (or possible murder).
Allen has worked with murder before: I'm thinking of "Crimes and Misdemeanors" and "Irrational Man." These particular Allen movies--where someone ends up dead, in cloudy circumstances--are among my favorites, because they combine my love for noir with my love for Allen's neurotic banter. ("Manhattan Murder Mystery" has twists you might expect from "The Third Man," but it also has Allen bizarrely murmuring about Diane Keaton "kicking things under the bed all the time! Remember, you kicked some mousse last week! You kicked mousse under the bed!!!")
"Murder Mystery" isn't perfect, and the final scenes seem absurdly "thin" and hurried. The splicing together of audition audio clips, to create a menacing phone call, seems like a step too far. No one would ever believe what Allen's character wants Paul to believe. But that doesn't really matter. There's a sense of improvisation and giddiness and fun--and that quality overrides any issues you might have with the writing.
At least, that's my opinion. "Murder Mystery" and a pizza: a fine way to spend a Saturday night.
Still, I love "Murder Mystery" for a few reasons. First, there are the breathtaking shots of Manhattan, and especially the bathed-in-a-red-glow scene near the trash compactor where Lillian's body is to be demolished. Then, there's the score: "I Happen to Like New York" and "Sing, Sing, Sing." And there's Woody Allen's chemistry with Diane Keaton--a last-minute replacement for Mia Farrow. ("I forbid you! I forbid you! Is that what you do when I forbid you?")
But beyond this, there's the continuous alluding to "Rear Window." (When we live in New York City, we may find ourselves asking questions about our neighbors, and then doubting our own sanity.) There's the elegant "quoting" of "The Lady from Shanghai," with the famous, alarming mirror scene. And there's the wonderful savoring of *a well-built plot* ....
A plot happens when someone manipulates someone else. So, in "Murder Mystery," we have Paul murdering his wife, but then putting together an elaborate coverup. The earliest actions are an attempt to understand what has happened. The coverup itself is juicy--as juicy as the crime--because it involves doppelgängers, disguised corpses, and double-crossing. As our protagonists try to find answers in the present, they also struggle with questions about waning desire in their marriage. (A favorite theme in this Woody Allen era, which also included "Husbands and Wives.") It's unclear if Keaton's character will stay with Woody, or if she will wander into Alan Alda's bed--and the uncertainty here is almost as suspenseful as the business surrounding the murder (or possible murder).
Allen has worked with murder before: I'm thinking of "Crimes and Misdemeanors" and "Irrational Man." These particular Allen movies--where someone ends up dead, in cloudy circumstances--are among my favorites, because they combine my love for noir with my love for Allen's neurotic banter. ("Manhattan Murder Mystery" has twists you might expect from "The Third Man," but it also has Allen bizarrely murmuring about Diane Keaton "kicking things under the bed all the time! Remember, you kicked some mousse last week! You kicked mousse under the bed!!!")
"Murder Mystery" isn't perfect, and the final scenes seem absurdly "thin" and hurried. The splicing together of audition audio clips, to create a menacing phone call, seems like a step too far. No one would ever believe what Allen's character wants Paul to believe. But that doesn't really matter. There's a sense of improvisation and giddiness and fun--and that quality overrides any issues you might have with the writing.
At least, that's my opinion. "Murder Mystery" and a pizza: a fine way to spend a Saturday night.
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