Sibling relationships can be a tricky subject. Some are as thick as thieves, calling each other all the time, texting, and going on vacations together. Others are estranged, having little to no contact with each other, relishing in real or perceived slights over the formative years to justify cutting their sibling(s) completely out of their lives. More often, though, it is somewhere in between, maintaining contact but keeping distant at the same time, especially in a world where people on average move away from the nest, usually by a significant distance.
Woody Allen, inspired in part by his earlier co-stars Janet Margolin and Diane Keaton, each of whom had two sisters, as well as his own experience with his mother’s seven sisters, wrote Hannah and Her Sisters all about that sibling experience. He was fascinated with the concept of sibling relationships as he began to craft his latest script, looking at his then partner, Mia Farrow, and writing Hannah with her in mind, imagining what she would be like were her sisters a little crazy. Like Holly in the film, Woody’s script hit a little too close to home for Mia but by the time she had read it and addressed her complaints to him it was already in production and couldn’t be stopped.
What was eventually released was an unflattering look at sibling relationships when all three members are struggling with different aspects of their lives and relationships. Hannah (Mia Farrow) seems the most stable, married to Elliot (Michael Caine) and living in a comfy house. But things aren’t as steady as they seem. Elliot has developed an unhealthy infatuation with his wife’s sister, Lee (Barbara Hershey). Lee is in a long term relationship with artist Frederick (Max Von Sydow) but his lack of commitment and his persistence with trying to teach her all the time has left her feeling unsatisfied in the relationship. When Elliot makes his intentions known she is shocked at first but quickly gives in to the affair.
Third sister Holly (Diane Wiest) is a recovering cocaine addict whose life is all over the place. She’s grown reliant on loans from her sister, most recently to start up a catering business, but wants to be a broadway actress. When a relationship falls through she shifts course and tries her hand at writing a script, once again turning to Hannah for a loan to help her out. This financial dependency causes tensions between the sisters, specifically with Holly who resents having to ask for the help. When she completes her script Hannah is appalled that it is heavily based on her and Elliot complete with details about their marriage that shouldn’t be known by Holly. Holly claims she got the information from Lee but Hannah never told Lee any of this either so the only explanation is that Elliot must have told her.
Intermixed into all this drama is Mickey (Woody Allen), a neurotic hypochondriac television writer going through an existential crisis, believing he may be dying. He once dated Holly but the two couldn’t make it work. He spends much of the film visiting doctors as well as investigating various faiths trying to find one that speaks to him and can help him actually believe in a life after death. His spiritual journey puts him at odds with his jewish parents who cannot understand or sympathize with his spiritual frustrations.
Woody Allen wrote and directed Hannah and Her Sisters and, like the best of his pictures, the writing is top notch. There is no mistaking that this is a Woody Allen film. It has his trademark dialogue and wry sense of humor, even when he is not on screen. He nails the sisters’ relationships with each other complete with how catty it can get at times. Both sisters betray Hannah throughout the course of the film in their own ways. Holly callously writes her script knowing it will be recognizable as representing Hannah and Elliot’s personal marriage struggles. When Hannah is obviously hurt and upset about it Holly pits it aside and writes something else instead.
Lee’s betrayal is far more serious. To betray the bonds of marriage the way she does with Elliot is unforgivable and, had it happened in my life it would have ended my relationship with both my brother and my wife. This type of betrayal would be nearly impossible to forgive. Elliot eventually ends the relationship when he realizes he truly does love Hannah but that doesn’t soften his previous actions in the slightest. Looking at this relationship in hindsight it’s hard not to see the very real situation that happened between Mia, Woody and their adoptive daughter Soon-Yi.
The best Woody Allen movies are thought-provoking and funny in equal measure. Woody has a way of writing dialogue that feels organic while at the same time could be a line from a stand-up routine. He compares an evening listing to punk music with Holly to the Nuremberg trials and makes barbed jabs at joggers in the park trying to “stave off the inevitable decay of their bodies.” The humor is oftentimes gallows humor but that doesn’t mean it’s not funny. Woody Allen films are not for everyone but those that can vibe with his cadence and sense of humor will find a lot to like about Hannah and Her Sisters.
Academy Award Nominations:
Best Picture: Robert Greenhut
Best Director: Woody Allen
Best Original Screenplay: Woody Allen (won)
Best Supporting Actor: Michael Caine (won)
Best Supporting Actress: Dianne Wiest (won)
Best Art Direction: Stuart Wurtzel and Carol Joffe
Best Film Editing: Susan E. Morse
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Release Date: February 7, 1986
Running Time: 106 Minutes
Rated PG-13
Starring: Woody Allen, Michael Caine, Mia Farrow, Carrie Fisher, Barbara Hershey, Lloyd Nolan, Maureen O’Sullivan, Daniel Stern, Max Von Sydow and Dianne Wiest
Directed By: Woody Allen
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