Vintage Poster
Annie Hall
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The Annie Hall Poster is the visual incarnation of a film that marked the history of cinema. Directed by Woody Allen in 1977, this iconic romantic comedy features the characters of Alvy Singer, played by Allen, and Annie Hall, played by Diane Keaton. This poster invites you to immerse yourself in a universe that is both funny and melancholic, where love, life and the complexity of human relationships are depicted with remarkable accuracy. With witty dialogue and inventive direction, Annie Hall captured the spirit of an era and touched the hearts of a generation of spectators. If you're looking for a film that's both entertaining and deeply moving, Annie Hall is a compelling choice.
- Paper characteristic:
- 🎨 Canvas: world standard in terms of printing and imitating a “painting canvas” appearance .
- By default, the poster contains a 4 cm white border for framing (frame not included). If you don't want it, please choose "without white border".
- ✅ Size: several choices available . ✅
- Great UV resistance .
- Maximum color vibrancy, without reflections .
- Recycled paper, guaranteeing respect for the environment.
- Poster carefully packaged and delivered in a protective tube for total protection .
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FREE STANDARD DELIVERY .
⚠️ Frame not included. ⚠️
Description of this Annie Hall Poster
Annie Hall is a 1977 American satirical romantic comedy film directed by Woody Allen from a screenplay written by him and Marshall Brickman, and produced by Allen's manager, Charles H. Joffe. The film stars Allen as Alvy Singer, who tries to understand 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 on the film began on May 19, 1976, on the South Fork of Long Island, and continued periodically for the next ten months. Allen described the result, which marked his first collaboration with cinematographer Gordon Willis, as "a major turning point", in that, unlike the farces and comedies that were his work to that point, it introduced a new level of seriousness. Scholars have noted the contrast in the New York and Los Angeles contexts, the stereotyping of gender differences in sexuality, the presentation of Jewish identity, and 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 was highly praised, was nominated for the Big Five Academy Awards, winning four: the Academy Award for Best Picture, two for Allen (best director and, with Brickman, best original screenplay) and best actress for Keaton. The film also won four BAFTA awards and a Golden Globe, the latter going to Keaton. The film's box office receipts in the United States and Canada of $38,251,425 are the fourth best of Allen's works when not adjusted for inflation.
Ranked among the greatest films ever made, it ranks 31st on the AFI's list of the greatest films in American cinema, 4th on their list of 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." The film's screenplay was also named the funniest ever written by the Writers Guild of America in its list of "101 Funniest Screenplays". 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."
Comedian Alvy Singer tries 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 age six and not understanding why she didn't was not willing to do the same thing.
Annie and Alvy, in a line for The Sorrow and the Pity, hear another man mocking the work of Federico Fellini and Marshall McLuhan; Alvy imagines that McLuhan himself intervenes at his invitation to criticize man's understanding. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife, whose ardor gave him no pleasure. Her second marriage was to a New York writer who didn't like sports and couldn't achieve orgasm.
With Annie, it's different. The two of them have fun cooking a meal of boiled lobster together. He teases her about unusual men from her past. They had met tennis doubles with friends. After the match, awkward small talk leads him to offer her a ride downtown, then a glass of wine on his balcony. There, what seemed to be a light exchange of trivial personal data is revealed in the "mental captions" as an escalating flirtation. Their first date follows Annie's singing audition for a nightclub ("It Had to Be You"). After their lovemaking that evening, Alvy is "a wreck", while Annie relaxes with a joint.
Soon, Annie admits that she loves Alvy, as he buys her books about death and says that his feelings for her are more than love. When Annie moves in with him, things become very tense. Eventually, Alvy finds his arm in arm with one of his college professors, and the two begin to wonder if it's the "flexibility" they've been discussing. They eventually break up, and he searches for the truth in relationships, questioning strangers on the street about the nature of love, questioning his formative years, and imagining a cartoon version of himself arguing with a Annie cartoon depicted as the Evil Queen in Snow White.
Alvy attempts a return to dating, but the effort is marred by neurosis and a bout of bad sex that is interrupted when Annie calls in the middle of the night, insisting that he come immediately and kill two spiders in her room bath. A reconciliation ensues, coupled with a vow to stay together, no matter what. However, their separate discussions with their therapists make it clear that there is an unspoken and unbridgeable divide. When Alvy accepts an offer to host a television award, 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 tries in vain to rekindle 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.
Annie and Alvy's final encounter is a melancholic coda on Manhattan's Upper West Side after they have both moved on to someone new. Alvy's voice returns with a summary: love is essential, especially if it is neurotic. Annie sings “Seems Like Old Times” and the credits roll.
