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Woody Allen's masterpiece with favorite co-star Diane Keaton has Allen casting himself as New York born comedian Alvy Singer and his relationship with Keaton in the title role. Annie Hall is one of those films you can watch four or five times and pick up a bit of humor and/or philosophy that you missed the first time.

Allen is playing himself in Annie Hall, a successful comedian who spends most of his time psychoanalyzing himself and all around him. He can't make any relationship permanent.

Along comes Keaton and it looks like this is the one, but there's always pitfalls when you deal with a walking neurosis like Allen.

Both Woody and Diane fit so naturally in their parts you think you are peeking in on a home movie. Annie Hall won for Best Picture, Best Actress for Diane Keaton, and Best Director and Best Original Screenplay for Woody Allen. Best in the supporting cast is Tony Roberts as Allen's sidekick actor buddy.

This really is a timeless classic. It's humor has no temporal limits. Annie Hall can be made today with the same script and you wouldn't lose a scintilla of humor.

Woody Allen's seminal 1977 romantic comedy "Annie Hall" is not only laugh-out-loud funny (with some of the most quotable dialogue ever written for the screen...this is the "Casablanca" of comedies, folks) but also sweet and charming (due in large part because of Diane Keaton's smashing performance as the title character, the flighty singer from Wisconsin with a quirky fashion sense and "neat" outlook on life) without ever turning trite or sappy like so many romantic comedies tend to do. Allen wisely deconstructed the genre with his non-linear story-line (something that was later done to even greater effect with a more recent and profound look at relationships, "Eternal Sunshine of the Spotless Mind") and charming little theatrical tricks like talking to the audience or pulling extras into the scene for their opinions on what's been going on. It keeps the viewer off guard and allows for a free flow of comedic and philosophical ideas that might otherwise not have found their way into a more traditional film.

In his latter years, Allen's best work has been when he is not part of the cast (my personal favorites being "Bulletts over Broadway," "Sweet and Lowdown," and the recent "Match Point"). "Annie Hall" was made in his heyday when he could still pull off playing a neurotic New York Jewish comedienne with charm and panache. There's something innocent and benign about his obsessions here, as this was long before the Woody/Soon-Yi fiasco and the days of grossly miscasting himself against younger female co-stars. Yes, Mr. Allen has been artsier (witness "Manhattan") and more satirical (witness "Zelig") but here, with Diane Keaton as his muse, he was never more charming or funnier.

`Annie Hall', long thought to be Woody Allen's opus, is perhaps a perfect romantic comedy because it not only shows the happy, touching moments of relationships, but also displays the reality of coupling – the occasional waning of interest in one another, the hypercritical moments, etc. It is absolutely brilliantly written; Woody Allen exhibits his usual dry humor and self-deprecation, but also his sensitive, passionate and romantic side. It was because of this film that I fell in love with Woody Allen at the age of twelve (take your cheap shot here) and almost twenty years later he still is that intellectual, bookish and humorous ideal. Diane Keaton was his muse and co-star for this film, and they are perfect counterparts – so much so that their interaction onscreen doesn't seem like viewing two actors in a film, but is a much more voyeuristic experience. Watching `Annie Hall' is like sitting at a bistro table and observing another couple a few tables away, and that is just one of the elements that make this film so endearing. Most people can relate to at least some aspects of Alvy and Annie's relationship, which helps make this film a timeless one.

However, `Annie Hall' is not just a good romantic comedy; it is a film that engages some unusual storytelling techniques. Actors speak directly to the audience, characters interact with strangers on the street who just happen to know the answers to the personal questions posed, there is a brief animation scene, etc. While none of these approaches were new in 1977, their execution was inspired. `Annie Hall' is like a fond memory, or a favorite old song – anytime I have discussed this film with others their smiling expressions are usually tinged with a hint of nostalgia, because one can look back on either their past or current relationship and do what precious few films allow us to do – relate on a personal level.

--Shelly

Alvy Singer (Woody Allen) is something of a hopeless romantic. A cynical, death-obsessed New York Jewish comedian, Singer has never been able to maintain a steady relationship with a woman. He has been married twice, and divorced twice. He broke up with one woman because of their disagreements over the "second shooter" conspiracy of John F. Kennedy's assassination, or perhaps that was just his excuse. To paraphrase Freud, possibly Groucho Marx, he simply "would never want to belong to any club that would accept someone like him for a member." He doesn't drive because he is paranoid about driving; he has been seeing a psychiatrist for the past fifteen years, though these appointments were long ago reduced to simple "whining" sessions. There is an inherent uncertainty in everything that Singer says – as though he really knows what he's talking about, but he can't convince himself that he's got it right.

When he accompanies a friend (Tony Roberts) to a tennis game, Singer's first and foremost concern is that the club will deny him entry because he's a Jew. However, that fateful game serves forth something so much more significant and life-changing – he comes to meet the ditsy and exuberant Annie Hall (Diane Keaton). Despite clearly having very little in common, something clicks between the two eligibles, and they embark on a tumultuous years-long relationship that will inevitably fail to materialise into anything further. Erupting with clever dialogue and witty cultural references, 'Annie Hall's' script is one of the best you'll ever see. Not only is the conversation entertaining to listen to, but – even with all the talking to the camera and interacting with random extras – it actually manages to seem startlingly realistic. This is no small thanks, of course, to the main actors, who embody their characters so perfectly that we're unsure if they are acting or merely playing themselves.

Though he had previously released a few well-received, light-hearted affairs, it was 'Annie Hall' that blasted writer/actor/director Woody Allen into the realms of super-stardom. In an uncharacteristic move for the Academy, Allen's film won four 1978 Oscars, including Best Actress (Keaton), Best Original Screenplay (Allen, Marshall Brickman), Best Director (Allen) and Best Picture – not undeservedly, though millions of 'Star Wars' fans would, I'm sure, disagree. Having revisited 'Annie Hall' for the first time in a year, having since enjoyed many of Allen's other films, I am genuinely amazed at his transition from silly comedian to insightful observer on human relationships. Of course, a noticeable evolution in his film-making style is evident in both the science-fiction 'Sleeper (1973)' and the Russian historical spoof 'Love and Death (1975),' but neither boasts the the intelligence nor the sophistication of this film, which wholly discards the Chaplin-like slapstick of Allen's previous films and adopts the Tracy-Hepburn screwball comedy of a decade later.

Originally slated – and filmed, in fact – as a New York murder mystery with a romantic sub-plot, 'Annie Hall' was taken by editor Ralph Rosenbaum and cut down (massacred, if you will) into the modern, witty 1970s screwball comedy that we still enjoy today. It is truly amazing that such an extensive post-production reshaping had no obvious ill effects upon the general flow of the film, though the structure in itself is so hectic that we probably wouldn't notice it, anyway: Allen frequently cuts forwards and backwards in time, his modern characters are able to revisit and discuss the past, characters in split screens interact, Allen regularly breaks the "fourth wall" and addresses the audience directly. Some of the discarded murder mystery elements from 'Annie Hall' were later incorporated into another Allen film, 'Manhattan Murder Mystery (1993),' which also co-starred Keaton.

Aside from Allen and Keaton, numerous smaller roles provide a crucial framework for the overall structure of the film. Tony Roberts is Rob, Singer's old friend and confidant. Paul Simon (of Simon and Garfunkel) plays a record producer who takes a keen interest in both Annie and her singing. Shelley Duvall is a reporter for 'The Rolling Stone' magazine, and a one-time girlfriend of Singer. There are also tiny early roles for Christopher Walken (as Annie's somewhat disturbed brother), Jeff Goldblum (who speaks one memorable line at a party – "Hello? I forgot my mantra") and Sigourney Weaver (who can be briefly glimpsed as Singer's date outside a theatre). Two slightly more unusual cameos come from Truman Capote (as a Truman Capote-lookalike, no less) and scholar Marshall McLuhan (whom Singer suddenly procures from behind a movie poster to declare to a talkative film-goer that "you know nothing of my work!").

Easily the most innovative and energetic of the films I've so far seen from Woody Allen, 'Annie Hall' is a spirited glimpse at the incompatibility of human beings, and a cynical yet bittersweet meditation on the falsity of the perfect romantic Hollywood ending. It is also a considerable comedic achievement, and Allen would repeatedly recycle his trademark neurotic New Yorker screen persona, most notably in 'Manhattan (1979),' but never with more success than this premium outing in excellence. The engagingly-convoluted storyline moves with such briskness that you don't realise just how very little happens, and that, by the film's end, our characters are exactly where they were at the beginning. Nevertheless, Allen manages to say something significant about human relationships – they're totally irrational, crazy and absurd, but we keep attempting them because of what they give us in return. Or, at least, what we think they give us.

Another world according to Woody, with some especially acute observations and witticisms about almost everything, but always with an exceptionally pessimistic pass. Flows fluently from beginning to end, seldom comes up for air and leaves us with an overflowing half full glass of confusion, misery and despair but always with perspective and a few chuckles.