In the film industry, producers make use of aesthetic techniques to bring a deeper meaning to their screenplays. Arguments are constructed through the use of these elements and as such, the audience gets to enjoy every scene of a movie based on how the aspects are integrated into the script. Manhattan by Woody Allen is a perfect example of a film that has incorporated the aforementioned elements from the beginning to the end. The application of mise-en-scène, cinematography, and sound effects enables the audience to construct their own arguments, flow with the emotion and see the deeper meaning of scenes in the film, thus showing that it is not just a story to be followed, but rather a movie to be synthesized with human emotion.
Compositional motion is used at the final scenes of the film when Isaac decides to run after Tracy through crowds in the street before she left for London. In the final chapter, the viewers are able to get a good glimpse at the experimental technique that has been used in the film. The motion in this scene captures the epiphany and anxiety of Isaac. Mise-en-scene is incorporated here to show that everything around Isaac at this time is equally important. One is able to see that as Isaac asses in front of the rows of parked cars, an elongated line is created by the hood of the cars, thus splitting the frame ( Bailey, 2001 ). Just the way the line appears to be clear, Isaac’s conscious is similarly clear, calm and collected even though he seems nervous. This is an example of how camera techniques can be used to bring a deeper meaning to the story. As the character continues to run, the line still continues to run through the screen. Another aspect of this scene is the pedestrians who seen to either be walking against the protagonist or just idle standing. The compositional style in this scene can be used to imply that these are opposing forces against Isaac. This style can, therefore, be linked to serve as a metaphorical element to highlight the hidden meanings in the film by showing that Isaac’s desire to move forward drives him to go against challenges to get what his heart desires.
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At the time when the film was being released, Hollywood had already started embracing color during filming and as such, one would have expected Woody to incorporate it but this is not the case. The photography used was still old-fashioned considering the fact that every image in the movie is meticulously slotted in black and white. An analysis of the technique used shows that the monochromatic palate was used to develop a deeper meaning of the film. Born in New York, Woodley tells the story of a young man, Isaac who starts by describing Manhattan in the first chapter ( Allen, 1979 ). It becomes apparent that at this point, he adores and idolizes the city, bringing the audience back to the main reason why he produced the film in black and white. From his words, he seems to have no words to describe the greatness and his love for the city. As he continues to utter these words, the viewer is presented with imageries of Manhattan in black and white. Based on how the producer portrays himself in the film (also considering the fact that he lived in Brookline), it is obvious that he is presenting his own expressions in this scene. Black and white in this case not only presents an old era but also the themes of beauty and romance in a literal and figurative manner. The city is therefore idolized in a romantic manner based on how Woody expresses his love.
Cinematography is used to highlight the themes of love and alienation throughout the film. One good example is the scene in Isaac’s apartment where he appears to be staged at the opposite side of Tracy in the frame. Top lighting is used to illuminate the two characters in what appears to be a low key illumination. A black mass appears judiciously appears between them, thus positioning each character in their own space based on the light that progresses on them ( Allen, 1979 ). It is imperative to note that even though Isaac and Tracy appear in the midst of darkness, the light allows the viewers to watch the characters in a simultaneous manner. In this scene, there is a lit doorway that can be seen slightly on the left side of the black mass. The producers have used this aspect to create a symmetrical balance in the scene and bring a deeper meaning by showing that it represents a doorway to and from Tracy ( Bailey, 2001 ).
The black mass represents his personal feelings which he must cross if he wants to be with the love of his life. A glance of the room shows that exiting would have involved exiting through the door, crossing the black mass and ascending the spiral staircase. Playing the scene forward and backward provides room for the audience to see it from three different perspectives. In the background, the books are vertically aligned and on the left side, horizontal lines can be seen implying that the overall security and stability of Tracy is assertive. Vertical lines, in this case, are used to signify tension and separation showing that they exist as a barrier that the protagonist must cross to secure his future. His emotion is uncertain and distorted as seen from the spiral staircase in the scene.
The soundtrack in Manhattan has been integrated into the scenes in such a manner that it illustrates the emotion, feelings, and action depending on the events that are occurring. Woody’s choice of music comes from the Gershwin songbook with stylish adaptations that create an orchestral transcription in every chapter of the film ( Harvey, 2007 ). The choice of music is used to create an atmosphere of ambiance as it evokes emotions in a manner that could not have been achieved through any other way. The full-length performance of Rhapsody in blue not only enhances the soundtrack’s effectiveness but also creates a wonderful illumination of the screenplay as one watches the film.
In the scene where the protagonist is running after Tracy, the soundtrack is used to present the tension that he is feeling as he runs past the cars. Similarly, at the scene of the bridge, no soundtracks are played so that the audience can get to hear the silence of the night as the two sit and talk. It is imperative to note that whenever the producer wants to cue specific emotions in the film, he does this by conjuring Gershwin’s assimilated music instead of using the actor’s emotion, words and images. Movies that do not make good use of soundtracks and music to symbolize the actions and emotions of their characters are normally unsuccessful whenever they are released to the market. This is the main reason why Woody ensured that he covered every scene in the script with appropriate soundtracks so that he could capture the attention of his audience.
References
Allen, W. (1979). Manhattan [Motion picture]. New York: Revolution Studios.
Bailey, P. J. (2001). The reluctant film art of Woody Allen . Lexington, Ky: University Press of
Kentucky.
Harvey, A. (2007). The soundtracks of Woody Allen: A complete guide to the songs and music in
Every film, 1969-2005 . Jefferson, NC: McFarland.
