Girgus, Sam B. “Desire and Narrativity in Annie Hall.” The Films of Woody Allen. New York: Cambridge University Press, 2002. 44-61. 

               In this chapter of Girgus’ book on Woody Allen films, the theory of narrativity is related to the concept of desire in an attempt to explain the success of Annie Hall. In addressing this fusion of theories, Girgus argues that Annie Hall survives and succeeds by sitting on this idea of the relationship between desire and narrativity and utilizing it to explain Alvy Singer and Annie Hall’s explorations of their respective identities in relation to the other’s. Furthermore, Woody Allen’s exploration of this theoretical relationship is what makes Annie Hall so enjoyable and at the same time revolutionary. Girgus explains that desire and narrative work together in the same process of the search for self. He notes Annie Hall’s chronological dislocation as an example of Woody Allen’s employment of the narrative. Describing narrative as “mimesis,” and contrasting it with “diegesis” (histoire), Girgus claims that Allen’s exploring this contrast is what allowed the film its initial success; it is what, on a broader scale, allows the film to be considered “important,” both in its relation to the film industry and in relation to other Allen films. Girgus continues to explain that this exploration can be found by viewers in the humor employed by Allen. Through humor, Allen, as Alvy Singer, places himself at the center of the narrative, and in effect explores the theme of psychoanalysis – one that is mentioned to be one of the film’s main themes in most articles and chapters written. His placement reminds us of Allen’s self-centeredness; while the film is named after its female star, the narrative really revolves, comically, around the inner workings of Annie and Alvy’s romantic relationship. Thus, Girgus argues, we only get to know Annie so well through Allen’s application of narrative desire to the plot. Narrative desire in Annie Hall provides a means by which Alvy Singer is deconstructed before the audience’s eyes, and humor accompanies this narrative desire to bring the film to a deeper philosophical level, where conventional perceptions and ideas of reality are “invaded” and reconstructed in a new, creative way. In utilizing narrative desire and humor, Allen successfully considers such themes as the unconscious, religion, and language. Girgus employs such examples as the characters’ speech patterns and the random inclusion of outside characters to demonstrate how Allen visually reinvents reality through humor and through the art form of film. 

            Girgus points to Allen’s use of humor and narrative desire as the reasons for Annie Hall’s worldwide impact. These elements are what allowed Annie Hall to serve as Allen’s artistic and intellectual breakthrough in cinema. Without them, the film would not have been as revolutionary, nor would it still strike a chord with audience members today.

 

            The second chapter of Sam B. Girgus’s The Films of Woody Allen provides an interesting perspective on one of Allen’s most renowned films, Annie Hall.  Chapter 2, entitled “Desire and Narrativity in Annie Hall,” addresses the relationship between desire and narrative and the role of this relationship in Annie Hall.  Girgus relies on the philosophical and theoretical studies of Roland Barthes and Teresa de Lauretis to express the way in which desire serves as a function of narrativity and therefore asserts that desire and narrativity are inextricably intertwined.  According to this theory, narrativity stems from the Oedipal experience that occurs in the search for one’s identity and sexuality.  The first evidence of this relationship between desire and narrativity in Annie Hall occurs through Woody Allen’s manipulation of time and space, which he achieves by juxtaposing Alvy Singer’s opening speech with multiple scenes that display drastic shifts in temporal order.  This chronological distortion explicitly demonstrates the complex nature of narrativity within this film and its tendency to then process desire.  In addition, Girgus introduces language into the relationship between desire and narrativity.  He argues that this intricate relationship between desire, narrative, and language is exemplified through the humor of Annie Hall, both visually as well as verbally.  Inherent in this analysis of the narrative content of the film is the issue of Allen’s stereotypical and narcissistic narrative desires.  Allen dilutes the potential for negative backlash from such narrative desires by directly confronting his manipulation and use of narrative desire within the film with direct references to Freud and psychoanalysis.  The inclusion of such references creates a unique sense of metacommentary, which contributes to the humor of the film and allows Allen to get away with his use of narrative desire.  The chapter also addresses Allen’s portrayal of the impossible nature of human desire for complete harmony and satisfaction.  This chapter provides a very dense and theoretical analysis of Annie Hall in terms of both content and visual depiction in the context of narrative desire.