[.ca] Interiors (Widescreen/Full Screen) (ISBN 0792846087)

Amazon.com Essential Video:
Although indisputably a film by Woody Allen, Interiors is about as far from "a Woody Allen film" as you can get--and maybe more people could have seen what a fine film it is if they hadn't been expecting what Allen himself called "one of his earlier, funnier movies." An entirely serious, rather too self-consciously Bergmanesque drama about a divorcing elderly couple and their grown daughters, it is slow, meditative, and constructed with a brilliant, painterly eye. There is no music--a simple effect that Allen uses with extraordinary power. In fact, half the film is filled with silent faces staring out of windows, yet the mood is so engaging, hypnotic even, that you never feel the director is poking you in the ribs and saying, "somber atmosphere." Diane Keaton, released for once from the goofy ditz stereotype, shines as the "successful" daughter. Some of the dialogue is stilted, and it's hard to tell whether this is a deliberate effect or simply the way repressed upscale New Yorkers talk after too many years having their self-absorption sharpened on the therapist's couch. Fanatical, almost childish self-regard is the chief subject of Allen's comedy--it's remarkable that in this film he was able to remove the comedy but leave room for us to pity and care about these rather irritating people. --Richard Farr

From Amazon.co.uk:
Although indisputably a film by Woody Allen, Interiors is about as far from "a Woody Allen film" as you can get--and maybe more people could have seen what a fine film it is if they hadn't been expecting what Allen himself called "one of his earlier, funnier movies." An entirely serious, rather too self-consciously Bergmanesque drama about a divorcing elderly couple and their grown daughters, it is slow, meditative and constructed with a brilliant, artistic eye. There is no music--a simple effect that Allen uses with extraordinary power. In fact, half the film is filled with silent faces staring out of windows, yet the mood is so engaging, hypnotic even, that you never feel the director is poking you in the ribs and saying, "sombre atmosphere". Diane Keaton, released for once from the ditzy stereotype, shines as the "successful" daughter. Some of the dialogue is stilted and it's hard to tell whether this is a deliberate effect or simply the way repressed upscale New Yorkers talk after too many years having their self-absorption sharpened on the therapist's couch. Fanatical, almost childish self-regard is the chief subject of Allen's comedy--it's remarkable that in this film he was able to remove the comedy but leave room for us to pity and care about these rather irritating people. --Richard Farr

Allen's Bergman homage:
Woody Allen threw the film world a curveball in 1978 when he released not only his first straight dramatic film, but also the first film he directed that he didn't appear in. Although the film confused and possibly enraged some fans, it holds up today as, in my opinion, one of his most strikingly daring films. It's obvious to anyone watching "Interiors" that this is an homage to Allen's favorite director, the great Ingmar Bergman. The quiet, the seriousness, the dysfunction -- it's "Cries and Whispers" for the Manhattan intelligentsia. While the film obviously pays tribute to Bergman, it's no mere copy. It has a life and style of its own, mainly due to the performances. The film deals with a wealthy, successful man (E.G. Marshall) who decides to separate from his unstable wife (Geraldine Page). The wife is thrown into depression and suicide attempts. Her three daughters are there to help, but can only do so much. Diane Keaton plays the stable, earthy Renata. Her husband is a failed writer and an alcoholic (played by Richard Jordan). Joey (Mary Beth Hurt) is the neurotic, stuffy, moody one who can't seem to find happiness in any profession she attempts. Her husband is played by Sam Waterston, and he's probably the one normal person in the whole film. The third daughter, Flynn, is played by Kristin Griffith as a TV-movie actress whose films are always panned by her family, both in and out of her presence. Maureen Stapleton plays the role of Pearl, the feisty woman Marshall begins dating soon after his separation. His children are surprised that he wants to remarry so soon, and Joey shows open contempt for his choice of a new wife. This is not "Bananas," "Sleeper," or even "Annie Hall." This is Woody Allen showing the dark recesses of family dysfunction. Geraldine Page is simply outstanding as the mentally unstable middle-aged woman. The scene where she "prepares" for her first suicide attempt is extremely dark and sad. Her final "beach" scene is beautifully shot. The rest of the cast does a great job, but she is head and shoulders above the rest. It's interesting to see Allen stretch out with this style of filmmaking, and I think it works very well. He has obviously studied Bergman's works carefully. This is no mere copy, it's a beautiful homage. The picture quality is good but not excellent for a DVD transfer. And as with all of Allen's discs, there's really not much in the area of extras -- just a trailer. But this is definitely a film to check out.

visceral and subdued:
This emotional film may appeal to refugees from nauseating and intelligence-insulting Hollywood tear-jerkers. The film exposes expression and suppression of emotion in the educated upper middle class family of origin. The emotional tension rises higher and breaks down more hysterically than in his films that address marriage and the sexual relationship. Modern interiors gut-hardeningly frame the confrontations and evasions. The interiors on their own would make it worth watching.

Not the best Allen film around, but still interesting!:
Woody Allen follows in the steps on Ingmar Bergman in filming the falling apart of women and sisters. The sisters are all very much different from each other. Joey \oplayed by Mary Beth Hurt in a performace that makes me want to gag.\c is the sister who can not find herself, even though we're told she has so many talents. You just feel like smaking her and saying, "Hey, there's people who have it a lot rougher than you out in the world." The two best things about this film are Geraldine Page and Maureen Stapleton, who were both nominated for Oscars. Stapleton plays the fathers new love interest who isn't like by the whole family, but ends up winning them over. Page brilliantly plays the fragile and distraught mother who is on the verge of suicide. The ending scenes are unavoidable as the story progresses. A great film to watch if your a fan of Allen's or Bergman's. It's also a great film to watch if your a fan of Geraldine Pages. 5 1978 ACADEMY AWARD NOMINATIONS: BEST ACTRESS-GERALDINE PAGE BEST SUPPORTING ACTRESS-MAUREEN STAPLETON BEST DIRECTOR-WOODY ALLEN BEST ORIGINAL SCREENPLAY-WOODY ALLEN BEST ART DIRECTION

Awful, but deliciously so:
Giving "Interiors" three stars is a compromise: as a film it rates worse and yet watching it can be, in a rather twisted way, a five-star experience. Just as it's difficult to pass the scene of a car accident without staring, no matter how horrible the spectacle, "Interiors" offers the viewer the same kind of irresistible awfulness. Someone once wrote to the effect that Woody Allen writes about New York WASP intellectuals not the way they are but the way he thinks they are. Not having any experience with that particular segment of society I can only say that I hope, both for their sake and ours, that Allen is wildly off the mark. Whatever emotional pain his characters may be going through, they come across as hopelessly pretentious, self-involved, and unlikeable. Of course, there's nothing to demand that movies be populated with amiable characters, but Allen makes it pretty near impossible to feel for any of these people. If he was trying to present a portrait of obnoxious New York intellectuals, then "Interiors" is a partial success, but somehow I don't think that was his desired goal. For all its faults, however, "Interiors" will remain one of those Woody Allen movies that draws me back from time to time. As Allen's deadly serious movies go, "Interiors" is not as bad as the nearly unwatchable "September" but not as good as "Another Woman". His real problem is the dialogue. The ostentatious intellectualism is tolerable, even an asset, in his comedies but in his serious films it is fairly ridiculous. One need hardly point out that real people don't talk that way. But it is precisely that quality that draws me back. It's awfulness is delicious.

A Film That Deserves A Place In Every Art Collection:
Revisiting INTERIORS written and directed by Woody Allen in 1978 it becomes apparent that this is one of the most important American films made. In this time of video art and digital manipulation of images, both in real time and in fixed entities, INTERIORS exemplifies the finest in what film can achieve. Without manipulation of scenery, without (gratefully) a senses-asaulting musical score, without GIMMICKRY - here is a film of brilliant writing, stunningly and beautifully subtle sets and costumes, and acting of the first degree. The angst so present in our society's family relationships is gently observed and explored and the results are a paean of understated simplicity and pain. It is difficult to single out any of the outstanding cast as 'best' and that is yet another proof of ensemble acting and directing at a zenith. Yes, it is unimaginable to leave behind the characters created by Geraldine Page, H.G. Marshall, Diane Keaton, and Maureen Stapleton, but again this is an indicator of how well and cohesive the experience provided by this movie is. I have never been a Woody Allen fan: I find his comedies overwrought, self-absorbed, and frustratingly tedious. Seeing INTERIORS on a DVD, in the quiet of home, has altered my respect for this man. A dazzingly brilliant, thoughtful, elegy of a film.