In the first few acts, Linda’s obsession with the murder seems completely ridiculous – you side with Lenny as he is completely amazed at how Linda and Ted are so excited by, what appears to be, a completely unneccessary focus. In its playfulness, the characters talk about the murder over dinner and concoct a wide range of different scenarios to justify the actions of Mr House. Its shown in such an amateur light – with no real depth and we are merely ‘playing along’. It all changes when, in correlation with Ted unsuccessfully attempting to begin a relationship with Linda, Linda see’s the woman we initially believed was dead: Mrs House.
This changes the dynamic completely – and, now I think about it – maybe this is purposefully linked with the games played between Ted and Linda. Up until that point, Ted and Linda are merely flirting and toying with each others emotions – akin to their flirting and toying with ideas about murder comitted by their next-door neighbour. As soon as Ted is rebuffed – their flirting coming to an end – the murder is shown to be false, the potential-love between Ted and Linda proved false. Fact is, after this sequence Ted is not seen so much as Linda and Lenny reignite the flame of their relationship by hunting down Mrs House. WOAH! Mrs House – a metaphor for a home-life? Linda and Lenny ‘find’ their happy home-life again? Perhaps…
Steeped in Cinema
Like most Woody Allen films, this has its fair share of cinematic references. To some extent this reminds me of Hitchcock – whereby a murder is set within a very comedic tone. Think Family Plot and Rear Window rather than Psycho and Frenzy. Additionally, we even see footage from The Lady from Shanghai starring Orson Welles. In fact, the entire sequence as Mr House walks around, gun in hand, mirrors surrounding them, remind me of The Man with the Golden Gun – but I am sure, like most James Bond films, that was, in turn, influenced by something else. The whole, multi-angled, even cubist imagery must come from somewhere … though I can’t think for the life of me where the first cubist film came from.
Lots of cameos too – Zach Braff has his first feature debut as Woody Allen and Diane Keaton’s child. A brief, even pointless role, though something that must have been incredibly important for Braff. Mr House is played by Jerry Adler – aka Hesh from The Sopranos. This is not something new. I shall reveal the many more Sopranos/New-York actors that regularly turn up in Woody Allen films (Some in Celebrity, and more in Mighty Aphrodite) and, in this case, we also meet Aida Turturro – aka Janice in Sopranos – too, as a cleaner. Clearly, casting director Juliet Taylor knows who to pick.
Enjoyable, Not Outstanding
So, lets conclude this ‘insight’. Diane Keaton again proves to be an incredible actress playing an even more obsessive character than Woody Allen normally does – thats not to say that Woody doesn’t play the neurotic obsessive again. This is three year after The Godfather Part III when Keaton played her much more serious role of Kay – so it shows how reat she is as an actress. In Manhattan Murder Mystery, you understand their relationship whereby in the final act, both characters get obsessed with the murder concocting an incredible plan to ‘catch’ the culprit.
As stated previously, its lovely to place it next to Play it Again, Sam but simply doesn’t have the charm – though it is great to see such a new angle taken on relationships – supporting monogamy rather than most of Woody Allens whereby characters simply find someone to lust after and, against all the odds, score. This is nice to see a couple sensibly work things out – albeit within the context of a ridiculous murder plot.