The premise of the article is that despite the film’s wild and enduring success, the creation of the film was not as smooth as one might think. In fact, as the title of the article suggests, the film was so problematic that it almost did not get made. When Ralph Rosenblum, the film’s editor, initially started looking through Allen’s 100,000 feet of footage he stated that it was “‘an untitled and chaotic collection of bits and pieces that
seemed to defy continuity,’ and he held little hope for popular success.” The biggest obstacle for Rosenblum and Allen was trying to find a linear plot that rescued the film from being a scattered stream of consciousness monologue. Rosenblum was able to do this by focusing on Alvy Singer’s relationship with Annie Hall, or rather Woody Allen’s relationship with Diane Keaton. Even though this new focus allowed the studio to change the title to Annie Hall, the film is truly about Alvy Singer and his struggle with himself and his relationships. Another major obstacle in the promotion of this film was Allen’s aversion to Hollywood and the use of publicity and marketing to promote the film. Even though Woody Allen was supported by a major studio, his style was much more in line with that of an independent filmmaker than a Hollywood filmmaker. This article is extremely relevant to history of Annie Hall and has a high level of credibility due to Meade’s use of legitimate sources including editor Ralph Rosenblum, Woody Allen himself, UA executives Eric Pleskow and Gabe Sumner, and her use of direct quotes from the film as evidence to support her arguments.
William Cook’s article from the New Statesman addresses how Woody Allen has caused Europeans to embrace the United States, specifically New York City, through his epitomized portrayal of the city in his films. The wide reception of Woody Allen’s films in Europe, especially by the French and the British, has turned Allen into a venerated figure in these respective countries. Cook argues that Allen’s depiction of Manhattan through his films is only an “immaculate illusion” and is therefore deceptive in its portrayal of the landscape. Cook includes a quote from Allen in which he states, “I constantly run into Europeans whose only sense of New York comes from Manhattan and Annie Hall…If that's what they're expecting to find, I guess they're disappointed.” Cook does not explicitly reveal whether or not he feels that this is a good or bad concept, but rather just brings it to light to let the reader draw his or her own conclusions. The essence of this article is Cook’s exploration of what makes Woody Allen’s films so appealing to European viewers, but Cook manages to put it in a larger context by tying in the relationship of the United States with France.Cook’s article deals more with the relationship of Woody Allen and his fans in Europe serving as a microcosm for the relationship of the United States and European countries such as France and England than it does with any specifics of the film Annie Hall. That being said, Cook tackles an interesting perspective regarding the reception of Woody Allen’s films, including that of Annie Hall and focuses on Allen’s portrayal of New York City in the film. New York City plays a major role in Annie Hall and exploring its significance as the film’s landscape is essential to a comprehensive analysis. Therefore, while this article is not specifically or directly relevant to Annie Hall, the connotations and implications that this articles holds can be extraordinarily pertinent and vital to an analysis of Annie Hall.