Hannah and Her Sisters 1986

The film unfolds in three pivotal arcs, primarily set over a twelve-month span, marked by Thanksgiving gatherings hosted by Hannah (portrayed by Mia Farrow) and her husband Elliot (played by Michael Caine). Hannah is the emotional cornerstone of the story; her own journey as a successful actress—highlighted by her recent portrayal of Nora in A Doll’s House—takes a backseat to the interconnected tales surrounding her.

The primary romantic tension arises from Elliot’s illicit affair with Hannah’s sister, Lee (Barbara Hershey). Feeling dissatisfied with Hannah’s independence and strength, Elliot seeks solace outside his marriage. Meanwhile, Lee finds herself in a stagnant relationship with the reclusive artist Frederick (played by Max von Sydow), a bond that has lost its stimulating essence. Realizing she can no longer endure Frederick’s dependency on her, she leaves him—a decision that devastates him. In the subsequent months, Lee engages in a clandestine romance with Elliot that thrives in secrecy.

The film also features Mickey (Woody Allen), another of Allen’s neurotic personas, who provides comedic moments throughout. His narrative includes glimpses of his past marriage to Hannah and the dismal date he shares with Hannah’s troubled sister, Holly (Dianne Wiest), showcased in flashbacks. Mickey’s journey revolves around his hypochondria and the prospect of facing a significant illness. After receiving a clean bill of health, he spirals into an existential crisis, experimenting with various religious beliefs before a chance to revisit the Marx Brothers’ Duck Soup rekindles his appreciation for life. This newfound perspective sets him up for a second date with Holly, which blossoms into a quick (largely off-screen) romance and eventual marriage.

Holly’s narrative serves as the third arc. As an aspiring actress who ventures into catering, underscored by Hannah’s financial support, she grapples with competition from her business partner, April (played by Carrie Fisher), and a love interest (Sam Waterston). Ultimately, Holly finds herself at a crossroads after losing both her acting aspirations and her romantic partner, compelling her to pursue writing. This transition reignites her reliance on Hannah, a dynamic that creates both tension and support. After initially attempting to write a script based on Hannah and Elliot’s life—prompting objections from Hannah—Holly shifts focus to a more personal story. Encouraged by Mickey, who admires her work, he promises to assist her in getting it produced.

A secondary storyline follows Hannah’s parents, Norma and Evan (played by Maureen O’Sullivan and Lloyd Nolan), who still maintain acting careers despite Norma’s struggle with alcoholism. Their vibrant personality adds to the festive Thanksgiving celebrations. By the time the film reaches its second Thanksgiving, Lee has ended her affair with Elliot, and the story concludes with the sisters having found happiness in their marriages, while Mickey surprises everyone by finding himself in a fatherly role with Holly.

The film’s narrative structure draws inspiration from Ingmar Bergman’s Fanny and Alexander, where a theatrical family gathers over three years of holiday celebrations. Both stories reflect a cycle of contentment, turmoil, and eventual resolution, culminating in a deeply resonant and reflective ending that ties together themes of love, dependency, and the complexities of familial relationships. >“Life is worth living.”