Editing Annie Hall

{{Short description|1977 film by Woody Allen}}
{{For|the High Sheriff of Derbyshire|Annie Hall (high sheriff)}}
{{Good article}}
{{Use mdy dates|date=January 2024}}
{{Infobox film
| name           = Annie Hall
| image          = Anniehallposter.jpg
| caption        = Theatrical release poster
| director       = [[Woody Allen]]
| writer         = {{Plainlist|
* Woody Allen
* [[Marshall Brickman]]
}}
| producer       = {{Plainlist|
* [[Charles H. Joffe]]
* [[Jack Rollins (producer)|Jack Rollins]] (uncredited)
}}
| starring       = {{Plainlist|
* Woody Allen
* [[Diane Keaton]]
* [[Tony Roberts (actor)|Tony Roberts]]
* [[Carol Kane]]
* [[Paul Simon]]
* [[Janet Margolin]]
* [[Shelley Duvall]]
* [[Christopher Walken]]
* [[Colleen Dewhurst]]
}}
| music          = ''[[Annie Hall#Soundtrack|See soundtrack]]''
| cinematography = [[Gordon Willis]]
| editing        = {{Plainlist|
* [[Ralph Rosenblum]]
* [[Wendy Greene Bricmont]]
}}
| studio         = [[Charles H. Joffe|A Jack Rollins and Charles H. Joffe Production]]
| distributor    = [[United Artists]]
| released       = {{Film date|1977|03|27|[[Los Angeles Film Festival]]|1977|4|20|United States}}
| runtime        = 93 minutes
| country        = United States
| language       = English<ref>{{cite web |title=Annie Hall |url=https://www.bbfc.co.uk/release/annie-hall-q29sbgvjdglvbjpwwc0yota0mdk |website=[[BBFC]] |language=en}}</ref>
| budget         = $4 million
| gross          = $44 million
}}

'''''Annie Hall''''' is a 1977 American [[Satire (film and television)|satirical]] [[Romance film|romantic]] [[comedy-drama]] film directed by [[Woody Allen]] from a screenplay written by Allen and [[Marshall Brickman]], and produced by Allen's manager, [[Charles H. Joffe]]. The film stars Allen as Alvy Singer, who tries to figure out the reasons for the failure of his relationship with the eponymous female lead, played by [[Diane Keaton]] in a role written specifically for her.

Principal photography for the film began on May 19, 1976, on the [[South Fork (Long Island)|South Fork]] of [[Long Island]], and continued periodically for the next ten months. Allen has described the result, which marked his first collaboration with cinematographer [[Gordon Willis]], as "a major turning point",<ref name="Björkman75">{{harvnb|Björkman|1995|p=75}}</ref> in that, unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Academics have noted the contrast in the settings of [[New York City]] and [[Los Angeles]], the stereotype of gender differences in sexuality, the presentation of [[Jewish identity]], and the elements of [[psychoanalysis]] and [[modernism]].

''Annie Hall'' was screened at the [[Los Angeles Film Festival]] on March 27, 1977, before its official release in the United States on April 20, 1977. The film received widespread critical acclaim, and was nominated for the [[List of Big Five Academy Award winners and nominees|Big Five Academy Awards]], winning four: the [[Academy Award for Best Picture]], two for Allen ([[Academy Award for Best Director|Best Director]] and, with Brickman, [[Academy Award for Best Original Screenplay|Best Original Screenplay]]), and [[Academy Award for Best Actress|Best Actress]] for Keaton. The film additionally won four [[British Academy Film Awards|BAFTA Awards]], including [[BAFTA Award for Best Film|Best Film]], [[BAFTA Award for Best Direction|Best Direction]] (for Allen), [[BAFTA Award for Best Screenplay|Best Screenplay]] (for both Allen and Brickman) and [[BAFTA Award for Best Actress in a Leading Role|Best Actress in a Leading Role]] (for Keaton), in addition to the [[Golden Globe Award for Best Actress – Motion Picture Comedy or Musical]] (for Keaton). The film's box office receipts in the United States and Canada of $38,251,425 are fourth-best of Allen's works when not adjusted for inflation.

Regarded among [[List of films voted the best|the greatest films ever made]], it ranks 31st on [[American Film Institute|AFI]]'s list of [[AFI's 100 Years... 100 Movies|the 100 greatest films in American cinema]], 4th on their list of [[AFI's 100 Years... 100 Laughs|the greatest comedy films]] and 28th on Bravo's "100 Funniest Movies". Film critic [[Roger Ebert]] called it "just about everyone's favorite Woody Allen movie".<ref name="ebert">{{cite web|last=Ebert|first=Roger|date=May 12, 2002|title=Annie Hall movie review & film summary (1977)|url=https://www.rogerebert.com/reviews/great-movie-annie-hall-1977|url-status=live|archive-url=https://web.archive.org/web/20130414011939/http://www.rogerebert.com/reviews/great-movie-annie-hall-1977|archive-date=April 14, 2013|access-date=January 10, 2021|work=[[RogerEbert.com]]}}</ref> The film's screenplay was also named the funniest ever written by the [[Writers Guild of America]] in its list of the "101 Funniest Screenplays".<ref>{{cite news |first=Dave |last=McNary |title='Annie Hall' Named Funniest Screenplay by WGA Members |url=https://variety.com/2015/film/news/annie-hall-funniest-screenplay-writers-guild-1201639002/ |work=[[Variety (magazine)|Variety]] |date=November 11, 2015 |access-date=December 9, 2017 |archive-url=https://web.archive.org/web/20171222103723/http://variety.com/2015/film/news/annie-hall-funniest-screenplay-writers-guild-1201639002/ |archive-date=December 22, 2017 |url-status=live }}</ref> In 1992, the [[Library of Congress]] selected the film for preservation in the United States [[National Film Registry]] as being "culturally, historically or aesthetically significant".<ref name=":0">{{Cite web|title=Complete National Film Registry Listing |url=https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/|website=Library of Congress|access-date=2020-05-18|archive-date=October 31, 2016|archive-url=https://web.archive.org/web/20161031213743/https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/|url-status=live}}</ref>

==Plot==
Comedian Alvy Singer is trying to understand why his relationship with Annie Hall ended a year ago. Growing up in [[Brooklyn]], he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity, suddenly kissing a classmate at six years old and not understanding why she was not keen to reciprocate.

Annie and Alvy, waiting in a cinema queue to see ''[[The Sorrow and the Pity]]'', overhear another man deriding the work of [[Federico Fellini]] and [[Marshall McLuhan]]. Alvy imagines McLuhan himself stepping in at his invitation to criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife, whom he kept at a distance for no good reason. His second marriage was to a New York writer who did not share his enthusiasm for sports and was unable to reach orgasm.

With Annie, it is different. The two of them have fun cooking a meal of boiled lobster together. He teases her about the unusual men in her past. They had met playing [[Doubles (tennis)|tennis doubles]] with friends. Following the game, awkward small talk leads her to offer him a ride uptown, and then a glass of wine on her balcony. There, what seemed a mild exchange of trivial personal data is revealed in "mental subtitles" as an escalating flirtation. Their first date follows Annie's singing audition for a nightclub ("[[It Had to Be You (song)|It Had to be You]]"). After their lovemaking that night, Alvy is "a wreck," while Annie relaxes with a [[cannabis (drug)|joint]].

Soon, Annie admits she loves Alvy, while he buys her books on death and says that his feelings for her are more than just love. When Annie moves in with him, things become very tense. Eventually, Alvy finds her arm-in-arm with one of her college professors, and the two begin to argue about whether this is the "flexibility" they had discussed. They eventually break up, and he searches for the truth of relationships, asking strangers on the street about the nature of love, questioning his formative years, and imagining a cartoon version of himself arguing with a cartoon Annie portrayed as the [[Evil Queen]] in ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White]]''.

Alvy attempts a return to dating, but the effort is marred by [[neuroticism|neurosis]] and an episode of bad sex that is interrupted when Annie calls in the middle of the night, insisting that he come over immediately to kill a spider in her bathroom. A reconciliation follows, coupled with a vow to stay together, come what may. However, their separate discussions with their therapists make it evident there is an unspoken and unbridgeable divide. When Alvy accepts an offer to present an award on television, they travel to Los Angeles with Alvy's friend Rob. However, on the return trip, they agree that their relationship is not working. After losing Annie to her record producer Tony Lacey, Alvy unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play of their relationship, but he changes the ending: now she accepts.

The last meeting between Annie and Alvy is a wistful coda on [[Manhattan]]'s [[Upper West Side]] after they have both moved on to someone new. Alvy's voice returns with a summation: Love is essential, especially if it is neurotic. Annie sings "[[Seems Like Old Times (song)|Seems Like Old Times]]," and the credits roll.

==Cast==
[[File:TrumanCapote1959.jpg|thumb|upright|right|[[Truman Capote]], pictured here in 1959, had a cameo role in the film.]]
* [[Woody Allen]] as Alvy Singer
* [[Diane Keaton]] as Annie Hall
* [[Tony Roberts (actor)|Tony Roberts]] as Rob
* [[Carol Kane]] as Allison Portchnik
* [[Paul Simon]] as Tony Lacey
* [[Janet Margolin]] as Robin
* [[Shelley Duvall]] as Pam
* [[Christopher Walken]]{{efn|Misspelled as "Christopher Wlaken" in the closing credits.<ref>{{Cite web |url=https://www.newsweek.com/christopher-walken-birthday-best-movies-ranked-age-76-1379798 |title=To celebrate Christopher Walken's 76th birthday, we rank his best 20 movies |last=Sim |first=David |date=March 31, 2019 |website=[[Newsweek]] |access-date=May 5, 2019 |archive-url=https://web.archive.org/web/20190505023715/https://www.newsweek.com/christopher-walken-birthday-best-movies-ranked-age-76-1379798 |archive-date=May 5, 2019 |url-status=live }}</ref>}} as Duane Hall
* [[Colleen Dewhurst]] as Mrs. Hall
* [[Donald Symington]] as Mr. Hall
* Joan Newman as Mrs. Singer
* [[Tracey Walter]] as Actor in Rob's T.V. Show	
* [[Mordecai Lawner]] as Alvy's father
* [[Marshall McLuhan]] as himself
[[Truman Capote]] has a cameo in the film. Alvy is making quips about people walking by. He says "There's the winner of the Truman Capote look-alike contest" as Truman Capote walks through the frame.<ref>{{cite web |title=Clip from Annie Hall |url=https://www.youtube.com/watch?v=KzHrdq_k8Ys |website=YouTube | date=June 4, 2012 |access-date=April 1, 2019 |archive-url=https://web.archive.org/web/20190606184408/https://www.youtube.com/watch?v=KzHrdq_k8Ys |archive-date=June 6, 2019 |url-status=live }}</ref> Several actors who later gained a higher profile had small parts in the movie: [[John Glover (actor)|John Glover]] as Annie's actor boyfriend, Jerry; [[Jeff Goldblum]] as a man who "forgot [his] [[mantra]]" at Tony Lacey's Christmas party; [[Beverly D'Angelo]] as an actress in Rob's TV show; Christopher Walken as Annie's brother, Duane; and [[Sigourney Weaver]], in her film debut, in the closing sequence as Alvy's date at the movie theater. [[Laurie Bird]] also appears, two years before her suicide.

==Style and technique==
Technically, the film marked an advance for the director. He selected [[Gordon Willis]] as his [[cinematographer]]—for Allen "a very important teacher" and a "technical wizard," saying, "I really count ''Annie Hall'' as the first step toward maturity in some way in making films."<ref name="Björkman77">{{harvnb|Björkman|1995|p=77}}</ref> At the time, it was considered an "odd pairing" by many, Keaton among them. The director was known for his comedies and farces, while Willis was known as "the prince of darkness" for work on dramatic films like ''[[The Godfather (film)|The Godfather]]''.<ref name="PBSdocumentary">{{cite video |people=Weide, Robert B. (Director) |year=2011 |title=Woody Allen: A Documentary |medium=Television |publisher=[[PBS]] }}</ref> Despite this, the two became friends during filming and continued the collaboration on several later films, including ''[[Zelig]]'', which earned Willis his first Academy Award nomination for [[Academy Award for Best Cinematography|Best Cinematography]].<ref name="PBSdocumentary"/>

Willis described the production for the film as "relatively easy."<ref name="PBSdocumentary"/> He shot in varying styles; "hot golden light for [[California]], grey overcast for Manhattan and a forties Hollywood glossy for&nbsp;... dream sequences," most of which were cut.<ref name="baxter248">{{harvnb|Baxter |1999|p=2487}}</ref> It was his suggestion which led Allen to film the dual therapy scenes in one set divided by a wall instead of the usual [[Split screen (filmmaking)|split screen]] method.<ref name="PBSdocumentary"/> He tried long takes, with some shots, unabridged, lasting an entire scene, which, for Ebert, add to the dramatic power of the film: "Few viewers probably notice how much of ''Annie Hall'' consists of people talking, simply talking. They walk and talk, sit and talk, go to shrinks, go to lunch, make love and talk, talk to the camera, or launch into inspired monologues like Annie's free-association as she describes her family to Alvy. This speech by Diane Keaton is as close to perfect as such a speech can likely be&nbsp;... all done in one take of brilliant brinksmanship." He cites a study that calculated the [[average shot length]] of ''Annie Hall'' to be 14.5 seconds, while other films made in 1977 had an average shot length of 4–7 seconds.<ref name="ebert"/> [[Peter Cowie]] suggests that "Allen breaks up his extended shots with more orthodox cutting back and forth in conversation pieces so that the forward momentum of the film is sustained."<ref>{{harvnb|Cowie|1996|p=47}}</ref> Bernd Herzogenrath notes the innovation in the use of the split-screen during the dinner scene to powerfully exaggerate the contrast between the Jewish and the gentile family.<ref name="Herzogenrath"/>

Although the film is not essentially experimental, at several points it undermines the narrative reality.<ref>{{cite book|first=Peter J.|last=Bailey|title=The Reluctant Film Art of Woody Allen|publisher=University Press of Kentucky|date=September 29, 2010|page=35|isbn=978-0813139241|url=https://books.google.com/books?id=Z5rGWBIW_FgC&pg=PA35}}</ref> James Bernardoni notes Allen's way of opening the film by facing the camera, which immediately intrudes upon audience involvement in the film.<ref name="Bernardoni01"/> In one scene, Allen's character, in line to see a movie with Annie, listens to a man behind him deliver misinformed pontifications on the significance of Fellini's and Marshall McLuhan's work. Allen pulls McLuhan himself from just off-camera to correct the man's errors personally.<ref name="ebert"/> Later in the film, when we see Annie and Alvy in their first extended talk, "mental subtitles" convey to the audience the characters' nervous inner doubts.<ref name="ebert"/> An animated scene—with artwork based on the [[comic strip]] ''[[Inside Woody Allen]]''—depicts Alvy and Annie in the guise of the Wicked Queen from ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White]]''.<ref name="ebert"/> Although Allen uses each of these techniques only once, the "[[fourth wall]]" is broken several other times when characters address the camera directly. In one, Alvy stops several passers-by to ask questions about love, and in another, he shrugs off writing a happy ending to his relationship with Annie in his autobiographical first play as forgivable "wish-fulfillment." Allen chose to have Alvy break the [[fourth wall]], he explained, "because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them."<ref name="Björkman77"/>

==Production==

===Writing===
The idea for what became ''Annie Hall'' was developed as Allen walked around [[New York City]] with co-writer [[Marshall Brickman]]. The pair discussed the project frequently, sometimes becoming frustrated and rejecting the idea. Allen wrote a first draft of a screenplay within a four-day period, sending it to Brickman to make alterations. According to Brickman, this draft centered on a man in his forties, someone whose life consisted "of several strands." One was a relationship with a young woman, another was a concern with the banality of the life that we all live, and a third an obsession with proving himself and testing himself to find out what kind of character he had. Allen himself turned forty in 1975, and Brickman suggests that "advancing age" and "worries about death" had influenced Allen's philosophical, personal approach to complement his "commercial side".<ref name=rose274>{{harvnb|Rosenblum|Karen |1986|p=274}}</ref><ref name="baxter241"/> Allen made the conscious decision to "sacrifice some of the laughs for a story about human beings".<ref name="PBSdocumentary"/> He recognized that for the first time he had the courage to abandon the safety of complete broad comedy and had the will to produce a film of deeper meaning which would be a nourishing experience for the audience.<ref name="Björkman75"/> He was also influenced by Federico Fellini's comedy drama ''[[8½]]'' (1963), created at a similar personal turning point, and similarly colored by each director's [[psychoanalysis]].<ref name="baxter241"/>

Brickman and Allen sent the screenplay back and forth until they were ready to ask [[United Artists]] for $4&nbsp;million.<ref name="baxter241">{{harvnb|Baxter |1999|p=241}}</ref> Many elements from the early drafts did not survive. It was originally a drama centered on a murder mystery with a comic and romantic subplot.<ref name="Lax283">{{harvnb|Lax|2000|p=283}}</ref> According to Allen, the murder occurred after a scene that remains in the film, the sequence in which Annie and Alvy miss the Ingmar Bergman film ''[[Face to Face (1976 film)|Face to Face]]'' (1976).<ref name="Björkman79"/> Although they decided to drop the murder plot, Allen and Brickman made a murder mystery many years later: ''[[Manhattan Murder Mystery]]'' (1993), also starring Diane Keaton.{{Sfn|Mitchell|2001|p=123}} The draft that Allen presented to the film's editor, [[Ralph Rosenblum]], concluded with the words, "ending to be shot."<ref name=rose262>{{harvnb|Rosenblum|Karen |1986|p=262}}</ref>

Allen suggested ''[[Anhedonia]]'', a term for the inability to experience pleasure, as a working title,<ref name="baxter245">{{harvnb|Baxter |1999|p=245}}</ref><ref>{{cite news |first=Mel |last=Gussow |author-link=Mel Gussow |title=Woody Allen Fights Anhedonia |url=https://www.nytimes.com/packages/html/movies/bestpictures/annie-ar.html |work=[[The New York Times]] |date=April 20, 1977 |access-date=February 5, 2017 |archive-url=https://web.archive.org/web/20170312025455/http://www.nytimes.com/packages/html/movies/bestpictures/annie-ar.html |archive-date=March 12, 2017 |url-status=live }}</ref> and Brickman suggested alternatives including ''It Had to Be Jew'', ''Rollercoaster Named Desire'' and ''Me and My Goy''.<ref name=rose289>{{harvnb|Rosenblum|Karen |1986|p=289}}</ref> An advertising agency, hired by United Artists, embraced Allen's choice of an obscure word by suggesting the studio take out newspaper advertisements that looked like fake tabloid headlines such as "Anhedonia Strikes Cleveland!".<ref name="rose289"/> However, Allen experimented with several titles over five test screenings, including ''Anxiety'' and ''Annie and Alvy'', before settling on ''Annie Hall''.<ref name=rose289/>

===Casting===
Several references in the film to Allen's own life have invited speculation that it is autobiographical. Both Alvy and Allen were comedians. His birthday appears on the blackboard in a school scene, and "Alvy" was one of Allen's childhood nicknames;<ref name="spignesi185">{{harvnb|Spignesi|1992|p=185}}</ref> certain features of his childhood are found in Alvy Singer's;<ref name="Björkman78">{{harvnb|Björkman|1995|p=78}}</ref> Allen went to [[New York University]] and so did Alvy. Diane Keaton's real surname is "Hall" and "Annie" was her nickname, and she and Allen were once romantically involved.<ref name="Björkman83">{{harvnb|Björkman|1995|p=83}}</ref> However, Allen is quick to dispel these suggestions. "The stuff that people insist is autobiographical is almost invariably not," Allen said. "It's so exaggerated that it's virtually meaningless to the people upon whom these little nuances are based. People got it into their heads that ''Annie Hall'' was autobiographical, and I couldn't convince them it wasn't".<ref>1987 interview with William Geist in ''[[Rolling Stone]]'', cited in ({{harvnb|Baxter |1999|p=244}}) and in ({{harvnb|Spignesi|1992|p=188}})</ref> Contrary to various interviewers and commentators, he says, Alvy is not the character that is closest to himself; he identified more with the mother (Eve, played by [[Geraldine Page]]) in his next film, ''[[Interiors]]''.<ref name="Björkman86">{{harvnb|Björkman|1995|p=86}}</ref> Despite this, Keaton has stated that the relationship between Alvy and Annie was partly based on her relationship with the director.<ref name="keatonmemoir">Diane Keaton. ''Then Again: A Memoir'', 2011.</ref>

The role of Annie Hall was written specifically for Keaton, who had worked with Allen on ''[[Play It Again, Sam (film)|Play It Again, Sam]]'' (1972), ''[[Sleeper (1973 film)|Sleeper]]'' (1973) and ''[[Love and Death]]'' (1975).<ref name="keatonmemoir"/> She considered the character an "affable version" of herself—both were "semi-articulate, dreamed of being a singer and suffered from insecurity"—and was surprised to win an Oscar for her performance.<ref name="keatonmemoir"/> The film also marks the second film collaboration between Allen and Tony Roberts, their previous project being ''Play It Again, Sam''.<ref name="PBSdocumentary"/>

Federico Fellini was Allen's first choice to appear in the cinema lobby scene because his films were under discussion,<ref name="Björkman79">{{harvnb|Björkman|1995|p=79}}</ref> but Allen chose cultural academic Marshall McLuhan after both Fellini and [[Luis Buñuel]] declined the cameo.<ref name="baxter249">{{harvnb|Baxter |1999|p=249}}</ref> Some cast members, biographer John Baxter claims, were aggrieved at Allen's treatment of them. The director "acted coldly" towards McLuhan, who had to return from Canada for reshooting, and [[Mordecai Lawner]], who played Alvy's father, claimed that Allen never spoke to him.<ref name="baxter249"/> However, during the production, Allen began a two-year relationship with [[Stacey Nelkin]], who appears in a single scene.<ref name="baxter249"/>

===Filming, editing and music===
[[File:ThunderboltConeyIsland1995.jpg|thumb|[[Woody Allen]] saw the [[Thunderbolt (1925 roller coaster)|Coney Island Thunderbolt]] when scouting locations and wrote it into the script as Alvy's childhood home.<ref name="spignesi185"/>]]
Principal photography began on May 19, 1976, on the [[South Fork (Long Island)|South Fork]] of Long Island with the scene in which Alvy and Annie boil live lobsters; filming continued periodically for the next ten months,<ref name="baxter247">{{harvnb|Baxter |1999|p=247}}</ref> and deviated frequently from the screenplay. There was nothing written about Alvy's childhood home lying under a roller coaster, but when Allen was scouting locations in Brooklyn with Willis and art director Mel Bourne, he "saw this roller-coaster, and&nbsp;... saw the house under it. And I thought, we have to use this."<ref name="Björkman78"/> Similarly, there is the incident where Alvy scatters a trove of cocaine with an accidental sneeze: although not in the script, the joke emerged from a rehearsal happenstance and stayed in the movie. In audience testing, this laugh was so sustained that a much longer pause had to be added so that the following dialogue was not lost.<ref>{{harvnb|Rosenblum|Karen |1986|p=284-284}}</ref>

Editor Ralph Rosenblum's first assembly of the film in 1976 left Brickman disappointed. "I felt that the film was running off in nine different directions," Brickman recalled.<ref>{{harvnb|Rosenblum|Karen |1986|pp=280–281}}</ref> "It was like a first draft of a novel... from which two or three films could possibly be assembled."<ref>{{harvnb|Rosenblum|Karen |1986|p=278}}</ref> Rosenblum characterized the first cut, at two hours and twenty minutes,<ref name=rose275>{{harvnb|Rosenblum|Karen |1986|p=275}}</ref> as "the surrealistic and abstract adventures of a neurotic Jewish comedian who was reliving his highly flawed life and in the process satirizing much of our culture... a visual monologue, a more sophisticated and more philosophical version of ''[[Take the Money and Run (film)|Take the Money and Run]]''".<ref name="rose275"/> Brickman found it "nondramatic and ultimately uninteresting, a kind of cerebral exercise."<ref name=rose281>{{harvnb|Rosenblum|Karen |1986|p=281}}</ref> He suggested a more linear narrative.<ref name="rose283">{{harvnb|Rosenblum|Karen |1986|p=283}}</ref>

The present-tense relationship between Alvy and Annie was not the narrative focus of this first cut, but Allen and Rosenblum recognized it as the dramatic spine, and began reworking the film "in the direction of that relationship."<ref>{{harvnb|Rosenblum|Karen |1986|pp=281–282}}</ref> Rosenblum recalled that Allen "had no hesitation about trimming away much of the first twenty minutes in order to establish Keaton more quickly."<ref name="rose281"/> According to Allen, "I didn't sit down with Marshall Brickman and say, 'We're going to write a picture about a relationship.' I mean the whole concept of the picture changed as we were cutting it."<ref name="rose283"/>

As the film was budgeted for two weeks of post-production photography,<ref name="rose262"/> late 1976 saw three separate shoots for the final segment, but only some of this material was used.<ref name="rose287">{{harvnb|Rosenblum|Karen |1986|p=287}}</ref> The narration that ends the film, featuring the joke about 'we all need the eggs', was conceived and recorded only two hours before a test screening.<ref name="rose287"/>

The credits call the film "A [[Jack Rollins (producer)|Jack Rollins]] and [[Charles H. Joffe]] Production"; the two men were Allen's managers and received this same credit on his films from 1969 to 1993. However, for this film, Joffe took producer credit and therefore received the [[Academy Award]] for [[Academy Award for Best Picture|Best Picture]]. The title sequence features a black background with white text in the [[Windsor (typeface)|Windsor Light Condensed]] typeface, a design that Allen used on his subsequent films. [[Stig Björkman]] sees some similarity to [[Ingmar Bergman]]'s simple and consistent title design, although Allen says that his own choice is a cost-saving device.<ref name="Björkman76"/>

Very little background music is heard in the film, a departure for Allen influenced by Ingmar Bergman.<ref name="Björkman76">{{harvnb|Björkman|1995|p=76}}</ref> Diane Keaton performs twice in the jazz club: "It Had to be You" and "Seems Like Old Times" (the latter reprises in voiceover on the closing scene). The other exceptions include a boy's choir "Christmas Medley" played while the characters drive through Los Angeles, the Molto allegro from [[Wolfgang Amadeus Mozart|Mozart]]'s [[Symphony No. 41 (Mozart)|Jupiter Symphony]] (heard as Annie and Alvy drive through the countryside), [[Tommy Dorsey]]'s performance of "Sleepy Lagoon",<ref>{{harvnb|Harvey|2007|p=19}}</ref> and the anodyne cover of the [[Savoy Brown]] song "A Hard Way to Go" playing at a party in the mansion of Paul Simon's character.

==Soundtrack==
*"[[Seems Like Old Times (song)|Seems Like Old Times]]" (1945) - Music by [[Carmen Lombardo]] - Lyrics by [[John Jacob Loeb]] - Sung by [[Diane Keaton]] (uncredited) accompanied by [[Artie Butler]] (uncredited)
*"[[It Had to Be You (song)|It Had to Be You]]" (1924) - Music by [[Isham Jones]] - Lyrics by [[Gus Kahn]] - Sung by Diane Keaton (uncredited) accompanied by Artie Butler (uncredited)
*"A Hard Way To Go" (1977) - Written and performed by [[Tim Weisberg]]
*"Christmas Medley" (Traditional Christmas songs: "[[We Wish You a Merry Christmas]]" (uncredited), "[[O Tannenbaum|O, Christmas Tree]]" (uncredited) and "''[[God Rest You Merry, Gentlemen]]''" (uncredited)) - Lyrics by [[Ernst Anschütz]] - Performed by the Do-Re-Mi Children's Chorus
*"[[By the Sleepy Lagoon|Sleepy Lagoon]]" (1930) - Composed by [[Eric Coates]] - Performed by [[Tommy Dorsey]]
*"[[Symphony No. 41 (Mozart)#IV. Molto allegro|Symphony No. 41 in C Major, K. 551, Molto Allegro]]" (1788) (uncredited) - Written by [[Wolfgang Amadeus Mozart]]

==Release==

===Box office and release===
''Annie Hall'' was shown at the [[Los Angeles Film Festival]] on March 27, 1977,<ref name="baxter245"/> before its official release in the United States on April 20, 1977.<ref name="boxoffice">{{cite web|url=https://boxofficemojo.com/movies/?id=anniehall.htm|website=[[Box Office Mojo]]|title=Annie Hall, Box Office Information|access-date=January 29, 2012|archive-url=https://web.archive.org/web/20120113050031/http://www.boxofficemojo.com/movies/?id=anniehall.htm|archive-date=January 13, 2012|url-status=live}}</ref> The film ultimately earned $38,251,425 (${{Inflation|US|38.251425|1977}} million in {{Inflation-year|US}} dollars) in the United States and Canada against a $4-million budget, making it the 11th highest-grossing picture of 1977.<ref name="boxoffice"/> On raw figures, it currently ranks as Allen's fourth-highest-grossing film in the United States, after ''Manhattan'', ''Hannah and Her Sisters'' and ''[[Midnight in Paris]]''; when adjusted for inflation, the gross figure makes it Allen's biggest box office hit.<ref name="rankings">{{cite web |url=https://www.boxofficemojo.com/people/chart/?view=Director&id=woodallen.htm |title=Woody Allen Movie Box Office Results |work=Box Office Mojo |access-date=July 20, 2012 |archive-url=https://web.archive.org/web/20120716200104/http://www.boxofficemojo.com/people/chart/?view=Director&id=woodallen.htm |archive-date=July 16, 2012 |url-status=live }}</ref> It played for over 100 consecutive weeks in London and grossed over $5.6 million in the United Kingdom.<ref>{{cite magazine|magazine=[[Screen International]]|date=September 8, 1979|page=2|title=Desirable 'Dracula'}}</ref> It was first released on [[Blu-ray Disc|Blu-ray]] on January 24, 2012, alongside Allen's film ''Manhattan'' (1979).<ref name="blurrayrelease">{{cite magazine |last=Nashawaty |first=Chris |url=http://www.ew.com/article/2012/01/24/annie-hall |title=Annie Hall Review |magazine=[[Entertainment Weekly]] |date=January 24, 2012 |access-date=July 19, 2012 |archive-url=https://web.archive.org/web/20120120200136/http://www.ew.com/ew/article/0,,20562561,00.html |archive-date=January 20, 2012 |url-status=live }}</ref> Both releases include their original theatrical trailers.<ref name="blurrayrelease"/>

==Reception==

===Critical response===
[[File:Diane Keaton 2012.jpg|thumb|upright|[[Diane Keaton]] received widespread critical acclaim and numerous accolades for her performance, including the [[Academy Award for Best Actress]]]]
''Annie Hall'' met with widespread critical acclaim upon its release, with major praise directed towards the film's script and the performances of Allen and Keaton.

[[Tim Radford]] of ''[[The Guardian]]'' called the film "Allen's most closely focused and daring film to date".<ref name="gaurdian">{{cite web |last=Radford |first=Tim |url=https://www.theguardian.com/film/2010/oct/18/annie-hall-archive-review |title=Annie Hall: Archive review |work=[[The Guardian]] |date=September 29, 1977 |access-date=July 18, 2012 |archive-url=https://web.archive.org/web/20140106043137/http://www.theguardian.com/film/2010/oct/18/annie-hall-archive-review |archive-date=January 6, 2014 |url-status=live }}</ref> ''[[The New York Times]]''' [[Vincent Canby]] preferred ''Annie Hall'' to Allen's second directorial effort, ''[[Take the Money and Run (film)|Take the Money and Run]]'', since the former is more "humane" while the latter is more a "cartoon".<ref name="newyorktimes">{{cite web |url=https://movies.nytimes.com/movie/review?res=EE05E7DF173AE562BC4951DFB266838C669EDE |title=Movie Review – Annie Hall |last=Canby |first=Vincent |author-link=Vincent Canby |date=April 21, 1977 |work=[[The New York Times]] |access-date=July 19, 2012 |archive-url=https://web.archive.org/web/20130721233636/http://movies.nytimes.com/movie/review?res=EE05E7DF173AE562BC4951DFB266838C669EDE |archive-date=July 21, 2013 |url-status=live }}</ref> Several critics have compared the film favorably to Bergman's ''[[Scenes from a Marriage]]'' (1973),<ref name="newyorktimes" /><ref name="variety">{{cite magazine|last=McBride|first=Joseph|author-link=Joseph McBride (writer)|url=https://variety.com/1977/more/reviews/annie-hall-1200424062/|title=Variety Reviews – Annie Hall|magazine=[[Variety (magazine)|Variety]]|date=March 29, 1979|access-date=July 19, 2012|archive-url=https://web.archive.org/web/20160304205838/http://variety.com/1977/more/reviews/annie-hall-1200424062/|archive-date=March 4, 2016|url-status=live}}</ref><ref name="slant" /> including Joseph McBride in ''[[Variety (magazine)|Variety]]'', who found it Allen's "most three-dimensional film to date" with an ambition equal to Bergman's best even as the co-stars become the "contemporary equivalent of&nbsp;... [[Spencer Tracy|Tracy]]-[[Katharine Hepburn|Hepburn]]."<ref name="variety" />

More critically, Peter Cowie commented that the film "suffers from its profusion of cultural references and [[asides]]".<ref>{{harvnb|Cowie |1996|p=49}}</ref> Writing for ''[[New York (magazine)|New York]]'' magazine, [[John Simon (critic)|John Simon]] called the film "unfunny comedy, poor moviemaking, and embarrassing self-revelation," and wrote that Keaton's performance was "in bad taste to watch and indecency to display," saying that the part should have been played by Robin Mary Paris, the actress who appears briefly in the scene where Alvy Singer has written a two-character play nakedly based on himself and Annie Hall. Simon's review of ''Annie Hall '' "It is a film so shapeless, sprawling, repetitious, and aimless as to seem to beg for oblivion. At this, it is successful."<ref>John Simon, New York Magazine, May 2, 1977, pg. 74</ref>

The film has continued to receive positive reviews. In his 2002 lookback, [[Roger Ebert]] added it to his [[The Great Movies|Great Movies]] list and commented with surprise that the film had "an instant familiarity" despite its age,<ref name="ebert"/> and ''[[Slant (magazine)|Slant]]'' writer Jaime N. Christley found the one-liners "still gut-busting after 35 years".<ref name="slant">{{cite magazine |last=Christley |first=Jaime |url=https://www.slantmagazine.com/film/review/annie-hall/6348 |title=Annie Hall &#124; Film Review |magazine=Slant Magazine |date=June 17, 2012 |access-date=July 19, 2012 |archive-url=https://web.archive.org/web/20120621001439/http://www.slantmagazine.com/film/review/annie-hall/6348 |archive-date=June 21, 2012 |url-status=live }}</ref> A later ''Guardian'' critic, [[Peter Bradshaw]], named it the best comedy film of all time, commenting that "this wonderfully funny, unbearably sad film is a miracle of comic writing and inspired film-making".<ref>{{cite web |first=Peter |last=Bradshaw |author-link=Peter Bradshaw |url=https://www.theguardian.com/film/2010/oct/18/annie-hall-comedy |title=Annie Hall: the best comedy film of all time |work=The Guardian |date=October 17, 2010 |access-date=July 18, 2012 |archive-url=https://web.archive.org/web/20140504005720/http://www.theguardian.com/film/2010/oct/18/annie-hall-comedy |archive-date=May 4, 2014 |url-status=live }}</ref> John Marriott of the ''[[Radio Times]]'' believed that ''Annie Hall'' was the film where Allen "found his own singular voice, a voice that echoes across events with a mixture of exuberance and introspection", referring to the "comic delight" derived from the "spirited playing of Diane Keaton as the kooky innocent from the Midwest, and Woody himself as the fumbling New York neurotic".<ref>{{cite magazine|url=http://www.radiotimes.com/film/cmhqv/annie-hall|title=Annie Hall|magazine=[[Radio Times]]|access-date=March 12, 2014|archive-url=https://web.archive.org/web/20140312224627/http://www.radiotimes.com/film/cmhqv/annie-hall|archive-date=March 12, 2014|url-status=live}}</ref> ''[[Empire (magazine)|Empire]]'' magazine rated the movie five out of five stars, calling it a "classic".<ref>{{cite magazine |last=Kennedy |first=Colin |url=https://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=5999 |title=Empire's Annie Hall Movie Review |magazine=[[Empire (magazine)|Empire]] |access-date=July 18, 2012 |archive-url=https://web.archive.org/web/20121116180153/http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=5999 |archive-date=November 16, 2012 |url-status=live }}</ref> In 2017, Claire Dederer wrote, "''Annie Hall'' is the greatest comic film of the twentieth century [...] because it acknowledges the irrepressible nihilism that lurks at the center of all comedy."<ref name="Dederer">{{cite journal|last1=Dederer|first1=Claire|title=What Do We Do with the Art of Monstrous Men?|journal=The Paris Review|date=November 20, 2017|url=https://www.theparisreview.org/blog/2017/11/20/art-monstrous-men/|access-date=November 27, 2017|archive-url=https://web.archive.org/web/20171127101003/https://www.theparisreview.org/blog/2017/11/20/art-monstrous-men/|archive-date=November 27, 2017|url-status=live}}</ref>

The Japanese filmmaker [[Akira Kurosawa]] cited ''Annie Hall'' as one of his favorite films.<ref>{{cite web |author1=Lee Thomas-Mason |title=From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time |url=https://faroutmagazine.co.uk/akira-kurosawa-100-favourite-films-list/ |website=Far Out |date=January 12, 2021 |publisher=Far Out Magazine |access-date=June 10, 2021 |archive-date=June 10, 2021 |archive-url=https://web.archive.org/web/20210610003407/https://faroutmagazine.co.uk/akira-kurosawa-100-favourite-films-list/ |url-status=live }}</ref><ref>{{cite web | title = Akira Kurosawa's Top 100 Movies! | url = http://wildgrounds.com/index.php/2009/01/17/akira-kurosawas-top-100-movies/ | url-status = dead | archive-url = https://web.archive.org/web/20100327124349/http://wildgrounds.com/index.php/2009/01/17/akira-kurosawas-top-100-movies/ | archive-date = March 27, 2010 | df = dmy-all }}</ref>

On review aggregator [[Rotten Tomatoes]], the film has a rating of 97% based on 128 reviews, with an average rating of 9.10/10. The site's critical consensus reads, "Filled with poignant performances and devastating humor, ''Annie Hall'' represents a quantum leap for Woody Allen and remains an American classic."<ref>{{cite web | url=https://www.rottentomatoes.com/m/annie_hall/ | title=''Annie Hall'' (1977) | work=[[Rotten Tomatoes]] | publisher=[[Fandango Media]] | access-date=March 8, 2024 | archive-url=https://web.archive.org/web/20190514214753/https://www.rottentomatoes.com/m/annie_hall/ | archive-date=May 14, 2019 | url-status=live }}</ref> [[Metacritic]] gave the film a score of 92 out of 100 based on 20 critical reviews, indicating "universal acclaim".<ref>{{cite web |url=http://www.metacritic.com/movie/annie-hall-1977 |title=''Annie Hall'' Reviews |work=[[Metacritic]] |publisher=[[CBS Interactive]] |access-date=March 1, 2018 |archive-url=https://web.archive.org/web/20180214235649/http://www.metacritic.com/movie/annie-hall-1977 |archive-date=February 14, 2018 |url-status=live }}</ref>

===Critical analysis===

====Love and sexuality====
[[File:Woody Allen (2006).jpeg|left|thumb|upright|[[Woody Allen]] in [[New York City]] in 2006]]
Sociologists [[Virginia Rutter]] and [[Pepper Schwartz]] consider Alvy and Annie's relationship to be a stereotype of gender differences in sexuality.<ref>{{harvnb|Rutter|Schwartz|2012|p=45}}</ref> The nature of love is a repeating subject for Allen and co-star Tony Roberts described this film as "the story of everybody who falls in love, and then falls out of love and goes on."<ref name="PBSdocumentary"/> Alvy searches for love's purpose through his effort to get over his depression about the demise of his relationship with Annie. Sometimes he sifts through his memories of the relationship, at another point he stops people on the sidewalk, with one woman saying that "It's never something you do. That's how people are. Love fades," a suggestion that it was no one's fault, they just grew apart and the end was inevitable. By the end of the film, Alvy accepts this and decides that love is ultimately "irrational and crazy and absurd", but a necessity of life.{{sfn|Pennington|2007|p=72}} Christopher Knight believes Alvy's quest upon meeting Annie is carnal, whereas hers is on an emotional note.<ref>{{harvnb|Knight|2004|p=217}}</ref>

Richard Brody of ''[[The New Yorker]]'' notes the film's "Eurocentric art-house self-awareness" and Alvy Singer's "psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions".<ref>{{cite magazine|last=Brody|first=Richard|url=https://www.newyorker.com/arts/critics/notebook/2012/06/25/120625gonb_GOAT_notebook_brody|title=It Begins Now|magazine=[[The New Yorker]]|date=June 25, 2012|access-date=March 12, 2014|archive-url=https://web.archive.org/web/20140312212152/http://www.newyorker.com/arts/critics/notebook/2012/06/25/120625gonb_GOAT_notebook_brody|archive-date=March 12, 2014|url-status=live}}</ref>

====Jewish identity====
Singer is identified with the stereotypical neurotic Jewish male, and the differences between Alvy and Annie are often related to the perceptions and realities of Jewish identity. Vincent Brook notes that "Alvy dines with the [[White Anglo-Saxon Protestant|WASP]]-y Hall family and imagines that they must see him as a [[Hasidic Jew]], complete with [[payot]] (ear locks) and a large black hat."<ref>{{harvnb|Brook |2006|p=22}}</ref> Robert M. Seltzer and Norman J. Cohen highlight the scene in which Annie remarks that Annie's grandmother "hates Jews. She thinks they just make money, but she's the one. Is she ever, I'm telling you.", revealing the hypocrisy in her grandmother's stereotypical American view of Jews by arguing that "no stigma attaches to the love of money in America".<ref>{{harvnb|Seltzer|Cohen|1995|p=91}}</ref> Bernd Herzogenrath also considers Allen's joke, "I would like to but we need the eggs", to the doctor at the end when he suggests putting him in a mental institution, to be a paradox of not only the persona of the urban neurotic Jew but also of the film itself.<ref name="Herzogenrath">{{harvnb|Herzogenrath|2009|p=97}}</ref>

====Woody Allen persona====
Christopher Knight points out that ''Annie Hall'' is framed through Alvy's experiences. "Generally, what we know about Annie and about the relationship comes filtered through Alvy, an intrusive narrator capable of halting the narrative and stepping out from it in order to entreat the audience's interpretative favor."<ref>{{harvnb|Knight|2004|p=214}}</ref> He suggests that because Allen's films blur the protagonist with "past and future protagonists as well as with the director himself", it "makes a difference as to whether we are most responsive to the director's or the character's framing of events".<ref>{{harvnb|Knight|2004|p=215}}</ref> Despite the narrative's framing, "the joke is on Alvy."<ref>{{harvnb|Knight|2004|p=221}}</ref> [[Emanuel Levy]] believes that Alvy Singer became synonymous with the public perception of Woody Allen in the United States.<ref>{{cite web|last=Levy|first=Emanuel|url=http://emanuellevy.com/review/annie-hall-1977-oscar-winner-4/|title=Annie Hall (1977): Oscar Winner|work=Emanuellevy.com|date=November 30, 2005|access-date=March 12, 2014|archive-url=https://web.archive.org/web/20140312212233/http://emanuellevy.com/review/annie-hall-1977-oscar-winner-4/|archive-date=March 12, 2014|url-status=live}}</ref> ''Annie Hall'' is viewed as the definitive Woody Allen film in displaying neurotic humor.<ref>{{harvnb|Tueth|2012|p=135}}</ref>

====Location====
[[File:Upper East Side NYC.jpg|thumb|[[Upper East Side]] of [[New York City]]]]
''Annie Hall'' "is as much a love song to New York City as it is to the character,"<ref name="sparknotes">{{cite web |url=http://www.sparknotes.com/film/anniehall/themes.html |title=Annie Hall: Themes, Motifs, and Symbols |publisher=[[SparkNotes]] |access-date=July 20, 2012 |archive-url=https://web.archive.org/web/20120718073625/http://www.sparknotes.com/film/anniehall/themes.html |archive-date=July 18, 2012 |url-status=live }}</ref> reflecting Allen's adoration of the island of [[Manhattan]]. It was a relationship he explored repeatedly, particularly in films like ''[[Manhattan (1979 film)|Manhattan]]'' (1979) and ''[[Hannah and Her Sisters]]'' (1986).<ref name="PBSdocumentary"/> Annie Hall's apartment, which still exists on East 70th Street between [[Lexington Avenue]] and [[Park Avenue]] is by Allen's own confession his favorite block in the city.<ref>{{harvnb|Meyers|2008|p=76}}</ref> Peter Cowie argues that the film shows "a romanticized view" of the borough, with the camera "linger[ing] on the [[Upper East Side]] [... and where] the fear of crime does not trouble its characters."<ref name="cowie21">{{harvnb|Cowie |1996|p=21}}</ref> By contrast, California is presented less positively, and David Halle notes the obvious "invidious intellectual comparison" between New York City and Los Angeles.<ref>{{harvnb|Halle|2003|p=443}}</ref> While Manhattan's movie theaters show classic and foreign films, [[Los Angeles]] theaters run less-prestigious fare such as ''[[Lisa and the Devil|The House of Exorcism]]'' and ''[[Messiah of Evil]]''.<ref name="cowie21"/> Rob's demonstration of adding [[canned laughter]] to television demonstrates the "cynical artifice of the medium".<ref name="cowie21"/> New York City serves as a symbol of Alvy's personality ("gloomy, claustrophobic, and socially cold, but also an intellectual haven full of nervous energy") while Los Angeles is a symbol of freedom for Annie.<ref name="sparknotes"/>

====Psychoanalysis and modernism====
''Annie Hall'' has been cited as a film which uses both therapy and analysis for comic effect.<ref name="Media2002">{{cite book|title=Psychoanalysis|url=https://books.google.com/books?id=qp_bmDWpReoC&pg=PT7|date=May 1, 2002|publisher=Lichtenstein Creative Media|isbn=978-1-888064-82-7|page=7|access-date=September 29, 2016|archive-url=https://web.archive.org/web/20140629171334/http://books.google.com/books?id=qp_bmDWpReoC&pg=PT7|archive-date=June 29, 2014|url-status=live}}</ref> [[Sam B. Girgus]] considers ''Annie Hall'' to be a story about memory and retrospection, which "dramatizes a return via narrative desire to the repressed and the unconscious in a manner similar to psychoanalysis".<ref name="Girgus02">{{harvnb|Girgus|2002|pp=50–2}}</ref> He argues that the film constitutes a self-conscious assertion of how narrative desire and humor interact in the film to reform ideas and perceptions and that Allen's deployment of Freudian concepts and humor forms a "pattern of skepticism toward surface meaning that compels further interpretation". Girgus believes that proof of the pervasiveness of [[Sigmund Freud]] in the film is demonstrated at the beginning through a reference to a joke in ''[[Jokes and Their Relation to the Unconscious]]'', and makes another joke about a psychiatrist and patient, which Girgus argues is also symbolic of the dynamic between humor and the unconscious in the film.<ref name="Girgus02"/> Further Freudian concepts are later addressed in the film with Annie's recall of a dream to her psychoanalyst in which [[Frank Sinatra]] is smothering her with a pillow, which alludes to Freud's belief in dreams as "visual representations of words or ideas".<ref name="Girgus02"/>

Peter Bailey in his book ''The Reluctant Film Art of Woody Allen'', argues that Alvy displays a "genial denigration of art" which contains a "significant equivocation", in that in his self-deprecation he invites the audience to believe that he is leveling with them.<ref name="Bailey">{{harvnb|Bailey|2001|pp=37–8}}</ref> Bailey argues that Allen's devices in the film, including the subtitles which reveal Annie's and Alvy's thoughts "extend and reinforce ''Annie Hall''{{'}}s winsome ethos of plain-dealing and ingenuousness".<ref name="Bailey"/> He muses that the film is full of antimimetic emblems such as McLuhan's magical appearance which provide quirky humor and that the "disparity between mental projections of reality and actuality" drives the film. His view is that self-reflective cinematic devices intelligently dramatize the difference between surface and substance, with visual emblems "incessantly distilling the distinction between the world mentally constructed and reality".<ref name="Bailey"/>

In his discussion of the film's relation to [[modernism]], Thomas Schatz finds the film an unresolved "examination of the process of human interaction and interpersonal communication"<ref name="schatz186">{{harvnb|Schatz|1982|p=186}}</ref> and "immediately establishes [a] self-referential stance" that invites the spectator "to read the narrative as something other than a sequential development toward some transcendent truth".<ref>{{harvnb|Schatz|1982|p=183}}</ref> For him, Alvy "is the victim of a tendency toward overdetermination of meaning – or in modernist terms 'the tyranny of the signified' – and his involvement with Annie can be viewed as an attempt to establish a spontaneous, intellectually unencumbered relationship, an attempt which is doomed to failure."<ref name="schatz186"/>

==Accolades==
{| class="infobox" style="width: 23em; font-size: 85%;"
|- style="background:#ccc; text-align:center;"
! colspan="2" | Academy Awards
|-
| '''1. [[Academy Award for Best Picture|Best Picture]]''', [[Charles H. Joffe]]
|-
| '''2. [[Academy Award for Best Director|Best Director]]''', [[Woody Allen]]
|-
| '''3. [[Academy Award for Best Actress|Best Actress]]''', [[Diane Keaton]]
|-
| '''4. [[Academy Award for Best Original Screenplay|Best Original Screenplay]]''', [[Woody Allen]] and [[Marshall Brickman]]
|- style="background:#ccc; text-align:center;"
! colspan="2" | Golden Globe Awards
|-
| '''1. [[Golden Globe Award for Best Actress in a Motion Picture – Musical or Comedy|Best Actress in a Motion Picture Musical or Comedy]]''', [[Diane Keaton]]
|- style="background:#ccc; text-align:center;"
! colspan="2" | BAFTA Awards
|-
| '''1. [[BAFTA Award for Best Film|Best Film]]'''
|-
| '''2. [[BAFTA Award for Best Direction|Best Direction]]''', [[Woody Allen]]
|-
| '''3. [[BAFTA Award for Best Actress in a Leading Role|Best Actress in a Leading Role]]''', [[Diane Keaton]]
|-
| '''4. [[BAFTA Award for Best Screenplay|Best Screenplay]]''', [[Woody Allen]] and Marshall Brickman
|-
| '''5. [[BAFTA Award for Best Editing|Best Editing]]''', Ralph Rosenblum and Wendy Greene Bricmont
|}
''Annie Hall'' won four Oscars at the [[50th Academy Awards]] on April 3, 1978, and was nominated for five (the [[List of Big Five Academy Award winners and nominees|Big Five]]) in total. Producer Charles H. Joffe received the statue for Best Picture, Allen for [[Academy Award for Best Director|Best Director]] and, with Brickman, for [[Academy Award for Best Original Screenplay|Best Original Screenplay]], and Keaton for [[Academy Award for Best Actress|Best Actress]]. Allen was also nominated for [[Academy Award for Best Actor|Best Actor]].<ref>{{harvnb|Cowie|1996|p=9}}</ref> Many had expected ''[[Star Wars (film)|Star Wars]]'' to win the major awards, including Brickman and executive producer [[Robert Greenhut]].<ref name="PBSdocumentary"/>

The film was also honored five times at the BAFTA awards. Along with the top award for [[BAFTA Award for Best Film|Best Film]] and the award for [[BAFTA Award for Best Editing|Best Editing]], Keaton won for [[BAFTA Award for Best Actress in a Leading Role|Best Actress]], Allen won for [[BAFTA Award for Best Direction|Best Direction]] and [[BAFTA Award for Best Original Screenplay|Best Original Screenplay]] alongside Brickman.<ref name="bafta">{{cite web|url=http://www.bafta.org/awards-database.html?year=1977&category=Film&award=false|title=Awards Database|publisher=Bafta.org|access-date=July 19, 2012|archive-url=https://web.archive.org/web/20121018001320/http://www.bafta.org/awards-database.html?year=1977&category=Film&award=false|archive-date=October 18, 2012|url-status=live}}</ref> The film received one [[Golden Globe Awards|Golden Globe Award]], for [[Golden Globe Award for Best Actress – Motion Picture Comedy or Musical|Best Actress – Motion Picture Comedy or Musical]] (Keaton), in addition to four nominations: [[Golden Globe Award for Best Motion Picture – Musical or Comedy|Best Motion Picture – Musical or Comedy]], [[Golden Globe Award for Best Director|Best Director]], [[Golden Globe Award for Best Screenplay|Best Screenplay]] and [[Golden Globe Award for Best Actor – Motion Picture Musical or Comedy|Best Actor – Motion Picture Musical or Comedy]] (the latter three for Allen).

In 1992, the United States' [[Library of Congress]] selected the film for preservation in its [[National Film Registry]] that includes "culturally, historically, or aesthetically significant" films.<ref name=":0" /> The film is often mentioned among the greatest comedies of all time. [[AFI's 100 Years... 100 Movies|The American Film Institute]] lists it 31st in American cinema history.<ref name="WWW.AFi.com">{{cite web|title=AFI's Top Ten Epic|work=[[American Film Institute]]|access-date=January 19, 2010|url=http://connect.afi.com/site/DocServer/TOP10.pdf?docID=441|archive-url=https://web.archive.org/web/20110716071851/http://connect.afi.com/site/DocServer/TOP10.pdf?docID=441|archive-date=July 16, 2011 }}</ref> In 2000, they named it second greatest romantic comedy in American cinema.<ref name="WWW.AFi.com"/> Keaton's performance of "Seems Like Old Times" was ranked 90th on their list of greatest songs included in a film, and her line "La-dee-da, la-dee-da." was named the 55th greatest movie quote.<ref name="WWW.AFi.com"/> The screenplay was named the sixth greatest screenplay by the [[Writers Guild of America, West]]<ref name="wga">{{cite web|url=http://www.wga.org/subpage_newsevents.aspx?id=1807 |title=101 List |work=Writers Guild of America |access-date=July 20, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20060813151310/http://www.wga.org/subpage_newsevents.aspx?id=1807 |archive-date=August 13, 2006 }}</ref> while [[IGN]] named it the seventh greatest comedy film of all time.<ref>{{cite web |url=http://movies.ign.com/articles/674/674712p19.html |title=Top 25 Comedies of All-Time |date=March 13, 2012 |work=[[IGN]] |access-date=July 20, 2012 |archive-url=https://web.archive.org/web/20120623000213/http://movies.ign.com/articles/674/674712p19.html |archive-date=June 23, 2012 |url-status=live }}</ref> In 2000, readers of ''[[Total Film]]'' magazine voted it the forty-second greatest comedy film of all time, and the seventh greatest romantic comedy film of all time.<ref>{{cite magazine |last=Winning |first=Josh |url=http://www.totalfilm.com/features/best-worst-romantic-comedies/the-best-annie-hall |title=Best & Worst: Romantic Comedies |magazine=[[Total Film]] |date=January 12, 2009 |access-date=July 18, 2012 |archive-url=https://web.archive.org/web/20120510093918/http://www.totalfilm.com/features/best-worst-romantic-comedies/the-best-annie-hall |archive-date=May 10, 2012 |url-status=live }}</ref> Several lists ranking Allen's best films have put ''Annie Hall'' among his greatest work.<ref name="anythingelse">{{cite web |url=http://www.nerve.com/entertainment/ranked/ranked-woody-allen-films-from-worst-to-best?page=5 |title=Ranked: Woody Allen Films from Worst to Best – Page 5 |publisher=Nerve.com |date=May 17, 2011 |access-date=July 28, 2012 |archive-url=https://web.archive.org/web/20120830192937/http://www.nerve.com/entertainment/ranked/ranked-woody-allen-films-from-worst-to-best?page=5 |archive-date=August 30, 2012 |url-status=live }}</ref><ref>{{cite web |first=Jeremy |last=Medina |url=https://www.pastemagazine.com/blogs/lists/2009/01/he-adored-new-york-city-woody-allens-10-finest-films.html |title=He Adored New York City: Woody Allen's 10 Finest Films |work=Paste |date=January 27, 2009 |access-date=July 28, 2012 |archive-url=https://web.archive.org/web/20120815154832/http://www.pastemagazine.com/blogs/lists/2009/01/he-adored-new-york-city-woody-allens-10-finest-films.html |archive-date=August 15, 2012 |url-status=live }}</ref><ref>{{cite web |url=http://www.screenjunkies.com/movies/movie-lists/5-best-woody-allen-movies/ |title=5 Best Woody Allen Movies |work=Screen Junkies |date=July 14, 2010 |access-date=July 28, 2012 |archive-url=https://web.archive.org/web/20120629024105/http://www.screenjunkies.com/movies/movie-lists/5-best-woody-allen-movies/ |archive-date=June 29, 2012 |url-status=live }}</ref>

In June 2008, AFI revealed its [[AFI's 10 Top 10|10 Top 10]]—the best ten films in ten classic American film genres—after polling over 1,500 people from the creative community and ''Annie Hall'' was placed second in the romantic comedy genre.<ref>{{cite news | publisher = [[American Film Institute]] | title = AFI's 10 Top 10 | date = June 17, 2008 | url = http://www.afi.com/10top10/category.aspx?cat=2 | access-date = November 15, 2014 | archive-url = https://web.archive.org/web/20160615004316/http://www.afi.com/10top10/category.aspx?cat=2 | archive-date = June 15, 2016 | url-status = live }}</ref> AFI also ranked ''Annie Hall'' on several other lists. In November 2008, ''Annie Hall'' was voted in at No. 68 on ''Empire'' magazine's list of ''The 500 Greatest Movies of All Time''.<ref name="emp">{{cite web |url=https://www.empireonline.com/500/85.asp |title=''Empire's'' The 500 Greatest Movies of All Time |work=Empire magazine |access-date=July 18, 2012 |archive-url=https://web.archive.org/web/20111026100600/http://www.empireonline.com/500/85.asp |archive-date=October 26, 2011 |url-status=live }}</ref> It is also ranked No. 2 on Rotten Tomatoes' 25 Best Romantic Comedies, second only to ''[[The Philadelphia Story (film)|The Philadelphia Story]]''.<ref>{{cite web|title=Best Romantic Comedies/Rank 2|url=https://www.rottentomatoes.com/guides/best_romantic_comedies/annie_hall/|work=Rotten Tomatoes|access-date=June 24, 2012|archive-url=https://web.archive.org/web/20120625232110/http://www.rottentomatoes.com/guides/best_romantic_comedies/annie_hall/|archive-date=June 25, 2012|url-status=live}}</ref> In 2012, the film was listed as the 127th best film of all time by the ''[[Sight & Sound]]'' critics' poll.<ref name="sightandsound">{{cite web|url=http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6bc053b7|title=Annie Hall|work='British Film Institute|access-date=August 19, 2012|archive-url=https://web.archive.org/web/20120820053527/http://explore.bfi.org.uk/sightandsoundpolls/2012/film/4ce2b6bc053b7|archive-date=August 20, 2012|url-status=dead}}</ref> The film was also named the 132nd best film by the ''Sight & Sound'' directors' poll.<ref name="sightandsound"/>
In October 2013, the film was voted by the ''[[Guardian (newspaper)|Guardian]]'' readers as the second best film directed by Woody Allen.<ref>{{cite news|title=The 10 best Woody Allen films|url=https://www.theguardian.com/film/2013/oct/04/the-10-best-woody-allen-films|access-date=November 22, 2014|work=The Guardian|date=October 4, 2013|archive-url=https://web.archive.org/web/20141129080854/http://www.theguardian.com/film/2013/oct/04/the-10-best-woody-allen-films|archive-date=November 29, 2014|url-status=live}}</ref> In November 2015, the film was named the funniest screenplay by the [[Writers Guild of America]] in its list of ''101 Funniest Screenplays''.<ref>{{cite news|title=101 Funniest Screenplays List|url=http://www.wga.org/content/default.aspx?id=5949|access-date=November 14, 2015|work=Writers Guild of America, West|date=November 11, 2015|archive-url=https://web.archive.org/web/20160202091302/http://www.wga.org/content/default.aspx?id=5949|archive-date=February 2, 2016|url-status=live}}</ref>

===[[American Film Institute]] recognition===
The film is recognized by [[American Film Institute]] in these lists:
* 1998: [[AFI's 100 Years...100 Movies]] – #31<ref>{{cite web|title=AFI's 100 Years...100 Movies|url=http://www.afi.com/Docs/100Years/movies100.pdf|work=American Film Institute|access-date=July 16, 2016|archive-url=https://web.archive.org/web/20190412113202/http://www.afi.com/Docs/100Years/movies100.pdf|archive-date=April 12, 2019|url-status=live}}</ref>
* 2000: [[AFI's 100 Years...100 Laughs]] – #4<ref>{{cite web|title=AFI's 100 Years...100 Laughs|url=http://www.afi.com/Docs/100Years/laughs100.pdf|work=American Film Institute|access-date=July 16, 2016|archive-url=https://web.archive.org/web/20160624052741/http://afi.com/Docs/100Years/laughs100.pdf|archive-date=June 24, 2016|url-status=live}}</ref>
* 2002: [[AFI's 100 Years...100 Passions]] – #11<ref>{{cite web|title=AFI's 100 Years...100 Passions|url=http://www.afi.com/Docs/100Years/passions100.pdf|work=American Film Institute|access-date=July 16, 2016|archive-url=https://web.archive.org/web/20160624052654/http://afi.com/Docs/100Years/passions100.pdf|archive-date=June 24, 2016|url-status=live}}</ref>
* 2004: [[AFI's 100 Years...100 Songs]]:
** "[[Seems Like Old Times (song)|Seems Like Old Times]]" – #90<ref>{{cite web|title=AFI's 100 Years...100 Songs|url=http://www.afi.com/Docs/100Years/songs100.pdf|work=American Film Institute|access-date=July 16, 2016|archive-url=https://web.archive.org/web/20110313151657/http://www.afi.com/Docs/100Years/songs100.pdf|archive-date=March 13, 2011|url-status=live}}</ref>
* 2005: [[AFI's 100 Years...100 Movie Quotes]]:
** Annie Hall: "La-dee-da, la-dee-da." – #55<ref>{{cite web |title=AFI's 100 Years...100 Movie Quotes |url=http://www.afi.com/Docs/100Years/quotes100.pdf |work=American Film Institute |access-date=July 16, 2016 |archive-url=https://web.archive.org/web/20110313150615/http://www.afi.com/Docs/100Years/quotes100.pdf |archive-date=March 13, 2011 |url-status=live }}</ref>
* 2007: [[AFI's 100 Years...100 Movies (10th Anniversary Edition)]] – #35<ref>{{cite web|title=AFI's 100 Years...100 Movies (10th Anniversary Edition)|url=http://www.afi.com/Docs/100Years/100Movies.pdf|work=American Film Institute|access-date=July 16, 2016|archive-url=https://web.archive.org/web/20130606072909/http://www.afi.com/Docs/100Years/100Movies.pdf|archive-date=June 6, 2013|url-status=live}}</ref>
* 2008: [[AFI's 10 Top 10]]: 
** No. 2 Romantic Comedy Film<ref>{{cite web|title=AFI's 10 Top 10: Top 10 Romantic Comedy|url=http://www.afi.com/10top10/category.aspx?cat=2|work=American Film Institute|access-date=July 16, 2016|archive-url=https://web.archive.org/web/20160615004316/http://www.afi.com/10top10/category.aspx?cat=2|archive-date=June 15, 2016|url-status=live}}</ref>

1992 – [[National Film Registry]].<ref>{{Cite web|url=https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/|title=Complete National Film Registry Listing |website=Library of Congress|access-date=February 27, 2020|archive-date=October 31, 2016|archive-url=https://web.archive.org/web/20161031213743/https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/|url-status=live}}</ref>

In 2006, ''[[Premiere (magazine)|Premiere]]'' magazine ranked [[Diane Keaton|Keaton]] in Annie Hall as 60th in its list of the "100 Greatest Performances of All Time", and noted:

<blockquote>
It's hard to play ditzy. ... The genius of Annie is that despite her loopy backhand, awful driving, and nervous tics, she's also a complicated, intelligent woman. Keaton brilliantly displays this dichotomy of her character, especially when she yammers away on a first date with Alvy (Woody Allen), while the subtitle reads, "He probably thinks I'm a yoyo." Yo-yo? Hardly.<ref>"100 Greatest Performances of All Time". ''Premiere'' magazine. April 2006.</ref>
</blockquote>

===Legacy and influence===
[[File:Keaton in Annie Hall.jpg|thumb|right|upright=0.9|[[Diane Keaton]]'s dress style as Annie Hall; an influence on the fashion world during the late 1970s]]
Although the film received widespread critical acclaim and numerous awards, Allen himself was disappointed with it, and said in an interview, "When ''Annie Hall'' started out, that film was not supposed to be what I wound up with. The film was supposed to be what happens in a guy's mind&nbsp;... Nobody understood anything that went on. The relationship between myself and Diane Keaton was all anyone cared about. That was not what I cared about&nbsp;... In the end, I had to reduce the film to just me and Diane Keaton, and that relationship, so I was quite disappointed in that movie".<ref name="cinemablendinterview">{{cite web |url=https://www.cinemablend.com/new/Woody-Allen-Explains-Why-Annie-Hall-Hannah-Her-Sisters-Were-Disappointments-31531.html |title=Woody Allen Explains Why Annie Hall And Hannah And Her Sisters Were Disappointments |publisher=Cinema Blend |last=Eisenberg |first=Eric |date=June 22, 2012 |access-date=July 18, 2012 |archive-url=https://web.archive.org/web/20120701233552/http://www.cinemablend.com/new/woody-allen-explains-why-annie-hall-hannah-her-sisters-were-disappointments-31531.html |archive-date=July 1, 2012 |url-status=live }}</ref> Allen has repeatedly declined to make a sequel,<ref>{{cite web |first=Peter |last=Biskind |author-link=Peter Biskind |title=Reconstructing Woody |work=[[Vanity Fair (magazine)|Vanity Fair]] |url=https://www.vanityfair.com/culture/features/2005/12/woodyallen200512?currentPage=1 |date=December 2005 |access-date=January 23, 2007 |archive-url=https://web.archive.org/web/20071014180250/http://www.vanityfair.com/culture/features/2005/12/woodyallen200512?currentPage=1 |archive-date=October 14, 2007 |url-status=live }}</ref> and in a 1992 interview stated that "Sequelism has become an annoying thing. I don't think [[Francis Ford Coppola|Francis Coppola]] should have done ''[[The Godfather Part III|Godfather III]]'' because ''[[The Godfather Part II|Godfather II]]'' was quite great. When they make a sequel, it's just a thirst for more money, so I don't like that idea so much".<ref>{{harvnb|Björkman|1995|p=51}}</ref>

Diane Keaton has stated that Annie Hall was her favorite role and that the film meant everything to her.<ref>{{harvnb|Mitchell|2001|p=45}}</ref> When asked if being most associated with the role concerned her as an actress, she replied, "I'm not haunted by Annie Hall. I'm happy to be Annie Hall. If somebody wants to see me that way, it's fine by me". Costume designer [[Ruth Morley]], working with Keaton, created a look which had an influence on the fashion world during the late-70s, with women adopting the style: layering oversized, mannish blazers over vests, billowy trousers or long skirts, a man's tie, and boots.<ref>{{harvnb|Steele|2010|p=336}}</ref> The look was often referred to as the "''Annie Hall'' look".<ref>{{harvnb|Eagan|2010}}</ref> Some sources suggest that Keaton herself was mainly responsible for the look, and Ralph Lauren has often claimed credit, but only one jacket and one tie were purchased from Ralph Lauren for use in the film.<ref>{{cite journal|author=Gross, Michael|date= January 18, 1993|title=Letters: The Costumer is Always Right|journal=[[New York (magazine)|New York]]|publisher=New York Media|url=https://books.google.com/books?id=BhgAAAAAMBAJ&pg=PA5}}</ref> Allen recalled that Lauren and Keaton's dress style almost did not end up in the film. "She came in," he recalled in 1992, "and the costume lady on ''Annie Hall'' said, 'Tell her not to wear that. She can't wear that. It's so crazy.' And I said, 'Leave her. She's a genius. Let's just leave her alone, let her wear what she wants.{{'"}}<ref>{{harvnb|Björkman|1995|p=85}}</ref>

The film's script topped the Writers Guild of America's list of 101 funniest screenplays ever, surpassing ''[[Some Like It Hot]]'' (1959), ''[[Groundhog Day (film)|Groundhog Day]]'' (1993), ''[[Airplane!]]'' (1980), and ''[[Tootsie]]'' (1982).<ref>{{cite web|url=https://www.hollywoodreporter.com/news/annie-hall-tops-wgas-list-839620|title='Annie Hall' Tops WGA's List of 101 Funniest Screenplays Ever|last=Gajewski|first=Ryan|website=[[The Hollywood Reporter]]|date=November 11, 2015|access-date=October 1, 2019|archive-url=https://web.archive.org/web/20180816063511/https://www.hollywoodreporter.com/news/annie-hall-tops-wgas-list-839620|archive-date=August 16, 2018|url-status=live}}</ref> James Bernardoni states that the film is "one of the very few romantic comedy-dramas of the New Hollywood era and one that has rightly taken its place among the classics of that revered genre", likening the seriocomic meditation on the couple relationship to [[George Cukor]]'s ''[[Adam's Rib]]'' (1949), starring [[Katharine Hepburn]] and [[Spencer Tracy]].<ref name="Bernardoni01">{{harvnb|Bernardoni|2001|p=164}}</ref> Since its release, other romantic comedies have inspired comparison. ''[[When Harry Met Sally...]]'' (1989), ''[[Chasing Amy]]'' (1997), ''[[Burning Annie]]'' (2007), ''[[500 Days of Summer]]'' (2009) and Allen's 2003 film, ''[[Anything Else]]'', are among them,<ref name="sightandsound"/><ref name="Allmovie">{{cite web|url=https://www.allmovie.com/work/500-days-of-summer-451495|title=500 Days of Summer > Overview|work=Allmovie|last=Buchanan|first=Jason|access-date=January 7, 2010|archive-url=https://web.archive.org/web/20100206182730/http://allmovie.com/work/500-days-of-summer-451495|archive-date=February 6, 2010|url-status=live}}</ref><ref name="USAToday">{{cite news|url=https://www.usatoday.com/life/movies/reviews/2009-07-16-500-days-of-summer_N.htm|title=Bask in the warmth of delightful '(500) Days of Summer'|work=[[USA Today]]|last=Puig|first=Claudia|access-date=July 19, 2009|date=July 19, 2009|archive-url=https://web.archive.org/web/20090720073820/http://www.usatoday.com/life/movies/reviews/2009-07-16-500-days-of-summer_N.htm|archive-date=July 20, 2009|url-status=live}}</ref><ref>{{cite news|last=James|first=Caryn|title=It's Harry (Loves) Sally in a Romance of New Yorkers and Neuroses|work=[[The New York Times]]|date=July 12, 1989|url=https://www.nytimes.com/1989/07/12/movies/review-film-it-s-harry-loves-sally-in-a-romance-of-new-yorkers-and-neuroses.html|access-date=September 23, 2007|archive-url=https://web.archive.org/web/20090325182254/http://www.nytimes.com/1989/07/12/movies/review-film-it-s-harry-loves-sally-in-a-romance-of-new-yorkers-and-neuroses.html|archive-date=March 25, 2009|url-status=live}}</ref><ref>{{cite web|url=http://www.nerve.com/entertainment/ranked/ranked-woody-allen-films-from-worst-to-best?page=3|title=Ranked: Woody Allen Films from Worst to Best – Page 3|work=Nerve.com|date=May 17, 2011|access-date=July 28, 2012|archive-url=https://web.archive.org/web/20111231062624/http://www.nerve.com/entertainment/ranked/ranked-woody-allen-films-from-worst-to-best?page=3|archive-date=December 31, 2011|url-status=live}}</ref> while film director [[Rian Johnson]] said in an interview for the book, ''[[The Film That Changed My Life]]'', that ''Annie Hall'' inspired him to become a film director.<ref>{{harvnb|Johnson|2011|p=17}}</ref> [[Karen Gillan]] stated that she watched ''Annie Hall'' as part of her research for her lead role in ''[[Not Another Happy Ending]]''.<ref>{{Cite web|url=http://www.doctorwhonews.net/2014/02/fifthestate-notanotherhappyending-dvds-130214120008.html|title=People: DVD roundup (The Fifth Estate, Not Another Happy Ending)|access-date=November 26, 2015|archive-url=https://web.archive.org/web/20151208030356/http://www.doctorwhonews.net/2014/02/fifthestate-notanotherhappyending-dvds-130214120008.html|archive-date=December 8, 2015|url-status=live}}</ref> In 2018, [[Matt Starr (visual artist)|Matt Starr]] and Ellie Sachs released a short film remake starring senior citizens.<ref>{{cite web|last1=Marotta|first1=Jenna|url=https://www.indiewire.com/2018/03/my-annie-hall-short-film-senior-citizens-woody-allen-1201934591/|title=My Annie Hall: Woody Allen Approves of New Short Film Starring Seniors|website=[[IndieWire]]|date=March 2, 2018|access-date=August 11, 2020|archive-date=May 2, 2021|archive-url=https://web.archive.org/web/20210502190401/https://www.indiewire.com/2018/03/my-annie-hall-short-film-senior-citizens-woody-allen-1201934591/|url-status=live}}</ref><ref>{{cite web|last1=Leland|first1=John|url=https://www.nytimes.com/2018/03/02/nyregion/the-woody-allen-reboot-you-wont-see-at-the-oscars-or-maybe-anywhere.html|title=The Woody Allen Reboot You Won't See at the Oscars (or Maybe Anywhere)|work=[[The New York Times]]|date=March 2, 2018|access-date=August 11, 2020|archive-date=July 30, 2020|archive-url=https://web.archive.org/web/20200730161403/https://www.nytimes.com/2018/03/02/nyregion/the-woody-allen-reboot-you-wont-see-at-the-oscars-or-maybe-anywhere.html|url-status=live}}</ref>

==Note==
{{notelist}}

==References==
{{Reflist|colwidth=25em}}

==Bibliography==
{{Refbegin|colwidth=25em}}
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* {{cite book|last=Eagan|first=Daniel|title=America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry|year=2010|publisher=Continuum International Publishing Group|location=London|isbn=978-0-8264-1849-4|url=https://books.google.com/books?id=2CIJFMMvx9MC|access-date=September 29, 2016|archive-date=April 23, 2017|archive-url=https://web.archive.org/web/20170423191842/https://books.google.com/books?id=2CIJFMMvx9MC|url-status=live}}
* {{cite book |first=Sam B. |last=Girgus |chapter=Philip Roth and Woody Allen: Freud and the Humor of the Repressed |editor1-first=Avner |editor1-last=Ziv |editor2-first=Anat |editor2-last=Zajdman |year=1993 |title=Semites and stereotypes: characteristics of Jewish humor |publisher=Greenwood Publishing Group |isbn=0-313-26135-0 |url-access=registration |url=https://archive.org/details/semitesstereotyp0000unse }}
* {{cite book|last=Girgus|first=Sam B.|title=The Films of Woody Allen|url=https://books.google.com/books?id=GZbcl1o3kOQC&pg=PA50|date=November 18, 2002|publisher=Cambridge University Press|isbn=978-0-521-00929-4|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629171156/http://books.google.com/books?id=GZbcl1o3kOQC&pg=PA50|url-status=live}}
* {{cite book|last=Halle|first=David|title=New York and Los Angeles: Politics, Society, and Culture--A Comparative View|url=https://books.google.com/books?id=7VeYVz7cHI8C&pg=PA443|date=August 15, 2003|publisher=University of Chicago Press|isbn=978-0-226-31369-6|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629171134/http://books.google.com/books?id=7VeYVz7cHI8C&pg=PA443|url-status=live}}
* {{cite book|last=Harvey|first=Adam|title=The Soundtracks of Woody Allen: A Complete Guide to the Songs and Music in Every Film, 1969-2005|url=https://books.google.com/books?id=S5WIT9aA1A8C&pg=PA19|date=March 6, 2007|publisher=McFarland|isbn=978-0-7864-2968-4|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629165946/http://books.google.com/books?id=S5WIT9aA1A8C&pg=PA19|url-status=live}}
* {{cite book|last=Herzogenrath|first=Bernd|title=The Films of Edgar G. Ulmer|url=https://books.google.com/books?id=yuwVdWhe9sgC&pg=PA97|date=May 20, 2009|publisher=Scarecrow Press|isbn=978-0-8108-6736-9|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629170832/http://books.google.com/books?id=yuwVdWhe9sgC&pg=PA97|url-status=live}}
* {{cite book |last=Johnson |first=Rian |author-link=Rian Johnson |chapter=Annie Hall (Interview by Robert K. Elder.) |title=[[The Film That Changed My Life]] |editor-first=Robert K. |editor-last=Elder |location=Chicago |publisher=Chicago Review Press |year=2011 |pages=13–24 |isbn=978-1-55652-825-5}}
* {{cite journal |last=Knight|first= Christopher J |title=Woody Allen's Annie Hall: Galatea's Triumph Over Pygmalion |journal=Literature/Film Quarterly |volume=32 |number=3 |year=2004 |pages=213–221}}
* {{cite book|last=Lax|first=Eric |author-link=Eric Lax |title=Woody Allen: A Biography |year=2000 |edition=New |publisher=Da Capo Press |isbn=0-306-80985-0 }}
* {{cite book|last=Mitchell|first=Deborah C.|title=Diane Keaton: Artist and Icon|url=https://books.google.com/books?id=nxdY5abnM64C&pg=PA45|date=July 26, 2001|publisher=McFarland|isbn=978-0-7864-1082-8|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629170421/http://books.google.com/books?id=nxdY5abnM64C&pg=PA45|url-status=live}}
* {{cite book|last=Meyers|first=Joseph|title=Inside New York 2009|url=https://books.google.com/books?id=EEsptL-38KYC&pg=PA76|year=2008|publisher=Inside New York|isbn=978-1-892768-41-4|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629165700/http://books.google.com/books?id=EEsptL-38KYC&pg=PA76|url-status=live}}
* {{cite book|last=Pennington|first=Jody W.|title=The History of Sex in American Film|url=https://books.google.com/books?id=nlVpgOR9z-kC&pg=PA72|year=2007|publisher=Greenwood Publishing Group|isbn=978-0-275-99226-2|access-date=September 29, 2016|archive-date=June 30, 2014|archive-url=https://web.archive.org/web/20140630020613/http://books.google.com/books?id=nlVpgOR9z-kC&pg=PA72|url-status=live}}
* {{cite book |title=When the Shooting Stops&nbsp;... The Cutting Begins |first1=Ralph |last1=Rosenblum |first2=Robert |last2=Karen |year=1986 |publisher=DaCapo Press |isbn=0-306-80272-4 }}
* {{cite book|last1=Rutter|first1=Virginia|last2=Schwartz|first2=Pepper|title=The Gender of Sexuality: Exploring Sexual Possibilities|url=https://books.google.com/books?id=gbpIbqiEy2sC&pg=PA45|year=2012|publisher=Rowman & Littlefield|isbn=978-0-7425-7003-0|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629165417/http://books.google.com/books?id=gbpIbqiEy2sC&pg=PA45|url-status=live}}
* {{cite journal |last=Schatz |first=Thomas |title=Annie Hall and the Issue of Modernism|journal=Literature/Film Quarterly |volume=10 |number=3 |year=1982 |pages=180–187}}
* {{cite book|last1=Seltzer|first1=Robert M.|last2=Cohen|first2=Norman J.|title=The Americanization of the Jews|url=https://books.google.com/books?id=c__ymBsbYdwC&pg=PA91|year=1995|publisher=NYU Press|isbn=978-0-8147-8001-5|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629170952/http://books.google.com/books?id=c__ymBsbYdwC&pg=PA91|url-status=live}}
* {{cite book|last=Spignesi|first=Stephen J. |title=The Woody Allen Companion |year=1992 |publisher=Plexus Publishing |location=London |isbn=0-85965-205-X}}
* {{cite book|last=Steele|first=Valerie|title=The Berg Companion to Fashion|date=November 15, 2010|publisher=Berg|page=336|isbn=9781847885920|url=https://books.google.com/books?id=Hemsvn9ZbRkC&pg=PA336|access-date=August 24, 2017|archive-date=July 26, 2020|archive-url=https://web.archive.org/web/20200726045608/https://books.google.com/books?id=Hemsvn9ZbRkC&pg=PA336|url-status=live}}
* {{cite book|last=Tueth|first=Michael|title=Reeling with Laughter: American Film Comedies—from Anarchy to Mockumentary|url=https://books.google.com/books?id=L2YgivlXooIC&pg=PA135|year=2012|publisher=Scarecrow Press|isbn=978-0-8108-8367-3|access-date=September 29, 2016|archive-date=June 29, 2014|archive-url=https://web.archive.org/web/20140629171249/http://books.google.com/books?id=L2YgivlXooIC&pg=PA135|url-status=live}}
{{Refend}}

==External links==
{{wikiquote}}
* {{IMDb title|0075686|Annie Hall}}
* {{Rotten Tomatoes|2=Annie Hall}}
* {{AllMovie title|2547|Annie Hall}}
* {{TCMDb title|16636|Annie Hall}}
* {{AFI film|55190}}
<!-- Please carefully consider if links can be integrated into the main article before adding to the External links, see [[WP:EL]] for more information -->
* [https://www.loc.gov/static/programs/national-film-preservation-board/documents/anniehall2.pdf ''Annie Hall'' essay] by Jay Carr at [[National Film Registry]] 
* [https://books.google.com/books?id=deq3xI8OmCkC ''Annie Hall'' essay] by Daniel Eagan in ''America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry'', A&C Black, 2010 {{ISBN|0826429777}}, pp.&nbsp;738–740
* [https://texasarchive.org/2009_01942 Interview with Woody Allen about ''Annie Hall''] at [[Texas Archive of the Moving Image]]

{{Woody Allen}}
{{Navboxes
| title = Awards for ''Annie Hall''
| list =
{{AcademyAwardBestPicture 1961-1980}}
{{BAFTA Best Film 1961-1980}}
{{National Society of Film Critics Award for Best Film}}
{{New York Film Critics Circle Award for Best Film}}
}}
{{Portal bar|Film|United States}}
{{Authority control}}

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