Annie Hall 1977

The comedian Alvy Singer is on a quest to comprehend the reasons behind the dissolution of his relationship with Annie Hall one year prior. Reflecting on his upbringing in New York, he remembers how he often troubled his mother, grappling with profound queries about the emptiness of existence, all while exhibiting a precocious curiosity about sexuality. Now approaching 40, Alvy harbors a fundamentally pessimistic outlook on life, believing it is riddled with misery and suffering that concludes far too swiftly. He feels alienated, convinced that he does not belong to any group that would welcome him.

As a child, Alvy succumbed to depression upon discovering the concept of an expanding universe, fearing that it would ultimately lead to a catastrophic end. Growing up beneath the roller coaster at Coney Island, he developed a nervous demeanor influenced by his father’s work in the bumper car arena. His educational experiences were marred by unsatisfactory teachers and unremarkable peers. Despite this, he demonstrated a healthy sexual curiosity at a tender age, kissing a girl for the first time when he was just six.

On one occasion, while waiting in line with Annie to view a Bergman film, a man misinterprets the ideas of Marshall McLuhan, prompting McLuhan himself to intervene. Meanwhile, Annie, feeling out of sorts, finds herself frustrated with Alvy’s self-centered behavior. She perceives him as egocentric, only viewing events through the lens of how they impact him. Alvy, unaware of her discomfort, interprets her mood as merely a result of hormonal fluctuations. Their intimacy suffers, and Alvy is hesitant to address these struggles.

Later that night, opposed to seeking physical closeness, they delve into conversation about Alvy’s first wife, Allison (portrayed by Carol Kane), reminiscing about their lackluster sexual experiences. Alvy reflects on how their relationship began amid the backdrop of political conventions, where he was a comedian and Allison played a key organizational role. Often, he was more interested in dissecting minutiae surrounding the JFK assassination than nurturing passion with her.

His second marriage was to a New York intellectual, where intimacy was similarly dissatisfying; he found himself preferring to catch basketball games instead of being present with her. She constantly reduced his sexual desires to psychoanalytical stereotypes, claiming his urges were manifestations of hostility toward her views.

With Annie, however, things felt different. Their playful kitchen escapades, like cooking boiling lobsters, sparked joy and mockery as Alvy ridiculed her past relationships with odd men such as Dennis from high school and Jerry, the actor, whom Annie found unsettling.

Their fateful encounter took place on the tennis court, leading to an awkward yet flirtatious exchange filled with what they called “mental subtitles” that hinted at deeper feelings, with Alvy’s physical attraction to Annie juxtaposed with her initial impression of him as a pretentious jerk. Their initial date follows an audition where she bewitches the audience with her rendition of “It Had to be You.” Alvy naïvely suggests they should kiss to eliminate any tension, and post-intimacy, he is left feeling like a mess, while Annie seems unfazed, leisurely enjoying a joint.

Annie soon confesses her love for Alvy, who furthers his emotional expression by gifting her books about death, suggesting he feels something beyond mere love. As Annie moves in, tension escalates; Alvy constantly nudges her to pursue further education, which she interprets as a denouncement of her intelligence. His shock deepens upon discovering her exorbitant rent for a less-than-ideal apartment teeming with bugs and poor plumbing.

Alvy grapples with an increasing emotional disconnect, particularly during intimate moments where he senses Annie is mentally preoccupied elsewhere. Visiting her family in Chippewa Falls for Easter, he feels an overwhelming sense of identity juxtaposition, reflecting on the profound differences in their backgrounds.

Annie’s brother Duane (played by Christopher Walken), alongside her parents, deepens Alvy’s feeling of estrangement. An argument arises when he spots Annie with a college professor, forcing him to confront the flexibility they had agreed upon when discussing their relationship. Alvy’s ceaseless quest for understanding leads him to poll strangers about love, leading to a surreal transformation where he imagines himself as an animated Snow White paired with Annie’s evil queen persona. Ultimately, they reach an impasse.

As Alvy resumes dating, his experiences are tainted with anxiety, unsatisfying intimate encounters, and an unexpected interruption from Annie, who calls him over for help with a spider. Surprisingly, their reconciliation blossoms, and they pledge to remain together despite challenges. However, as both confide in their therapists, the unspoken rift between them becomes undeniable. Following an award presentation in Los Angeles, they mutually agree that their relationship is no longer functional.

After losing Annie to her record producer, Alvy’s attempts at rekindling their romance through marriage proposals fall flat. Back in New York, he creatively channels their story into a play, altering the ending to ensure Annie accepts him this time around. Their final encounter is bittersweet, set against the backdrop of New York’s Upper West Side, where both have since moved on. Alvy’s voice resonates a final sentiment: love is paramount—especially within the realm of neuroses—as Annie performs a poignant rendition of “Seems Like Old Times,” and the credits roll.