Cowie, Peter. Annie Hall. London: The British Film Institute, 1996.

         Peter Cowie’s investigation of Annie Hall is a rather complete one, focusing on the film’s role as it relates to the period of the 1970s. On one level, Cowie simply summarizes the making of the film, the elements which had the greatest impact on it, and the ways in which the film has now impacted the industry. Cowie argues that both the decade and the film influenced each other. The film then went on, due to its wonderful, philosophical exploration of society at that time, to secure its position as one of the great American comedic films of all time. Cowie also discusses the film in a similar fashion as many other Allen scholars do. One common theme of Annie Hall which Cowie discusses is Woody Allen’s direct and indirect connections and influences on the film. As many have considered Annie Hall to be a potential autobiography, Allen’s personality is clearly instilled in the film’s plot, the characters and the themes. Cowie argues that, because one can find so many elements of Woody Allen in Alvy Singer, Annie Hall serves as the strongest means by which one can learn the most about its creator. Cowie continues to study Allen’s application of humor and his unique approach to narrative – an element of Annie Hall which allows the film to stand out in Allen’s repertoire. Cowie also considers the film in relation to cultural stereotypes, claiming that Allen’s handling of such subjects through the context of Annie and Alvy’s relationship is, instead of offensive, rather relatable. It is what allows Annie Hall such a widespread appeal that has stood the test of time.

            

            Annie Hall achieved international acclaim and cemented its place in film history when it won four Oscars in 1978, including Best Picture, Best Director, Best Actress, and Best Screenplay.  Woody Allen’s masterpiece is often considered one of the funniest movies in the history of American cinema.  The film can be examined on a number of levels, from artistic, theoretical, and historical perspectives.  Cowie looks at the film in terms of its role as both a reflection of and major influence during the 1970s, which served as a critical time for Hollywood and the film industry.  He also looks at the film as an expression of the filmmaker: Woody Allen.  Woody Allen never denies that his role as Alvy Singer is somewhat autobiographical and Cowie uses this to analyze the features of Allen’s life and personality that can be derived from the film.  Woody Allen harbors a sense of mystery and complexity, which makes many of his films, especially Annie Hall, the best insight to his true self.  Cowie researches and analyzes the origins of Annie Hall both in terms of Allen’s motivations that led him to the story as well as the logistical factors that affected the making of the film.  The significance of Allen’s relationship with Diane Keaton as well as his obsession with New York City are evident not only through the content of Annie Hall, but even more so when one looks at the development of the film.  In addition, Cowie observes the artistic and cinematic features of Annie Hall, many of which he argues are derived from Ingmar Bergman as well as from vaudeville traditions of stand-up comedians.  Finally, Cowie addresses the actual content of the film in terms of cultural meaning and its appeal to viewers.  He looks at Allen’s rampant and blatant use of stereotypes and the role of such stereotypes in this film, as well as in many of Allen’s other films.  Cowie argues that despite the use of these potentially offensive stereotypes, Annie Hall manages to maintain a universal and lasting appeal because of Allen’s willingness to reveal his vulnerability and insecurities to the viewer.