Interiors

When "Interiors" was first released it was generally deplored by moviegoers, largely because it did not live up to their expectations of what a Woody Allen film should be: a laugh-out-loud comedy like "Annie Hall," or "Sleeper." It was as if Allen should be allowed to make only one kind of film (One might as well complain about Mozart having had the nerve to write the "Requiem" after "The Magic Flute"; or, conversely, Verdi having the effrontery to write "Falstaff" after "Othello." One wonders whether Shakespeare had the same problem: "What dost thou mean that thou art writing of a Shrewish Wench from Padua? Beshrew thy heart! . . . We want more Titus Andronicus!").

With time and distance, one can appreciate "Interiors" for what it is, an intense drama about a family in the process of disintegration. The film is beautifully acted by an ensemble cast that includes Geraldine Page as the mother, who is so quietly self-effacing that, like a vacuum, she seems to draw the energy out of any room she enters; E.G. Marshall, as a man who has been a good father, but who must now escape the house's stifling atmosphere; the three sisters, Kristin Griffith, who has already escaped to Hollywood and a middling career as an actress; Diane Keaton, who has removed herself to Connecticut--and writer's block; and Marybeth Hurt, the Elektra of the piece, whose love for her father, hatred of her mother, and competitiveness with her writer-sister have come to dominate her life. The static dynamic of this imbalance of power is upset when the father introduces an interloper, beautifully acted by Maureen Stapleton.

Some have remarked, not without cause, that Allen has given the husbands of Keaton and Hurt (Richard Jordan and Sam Waterston respectively) the short end of the acting stick; but, I believe, that is his point, which certainly reflects the title of the film, "Interiors." The very dysfunction at the core of the family has caused the daughters to exclude themselves not only from each other but also from their respective spouses, who remain outsiders. It is only at the end that the sisters come to recognize and accept their flaws, and consequently find some resolution, as the camera outside the house looking inward at their faces--framed by the window--implies.

Woody Allen's "Interiors" will not leave you laughing, but it will certainly leave you thinking, perhaps about how quickly time passes in respect to one's family.

One of Woody Allen's earliest efforts at humanistic drama is an understated work of suppressed emotion, creative frustration and complicated relationships. Sadly, 'Interiors' has been largely ignored by the film fraternity, possibly because it appeared around the time Allen was still best know for his out-and-out comedies. I've reviewed a few of Woody's films on Amazon now and I have to keep stressing that I love the likes of 'Sleeper', 'Bananas' and 'Take The Money And Run'. They are hilarious films and true examples of comedy genius. But, for me, it is these more reflective works that elevated Allen into the great filmmaker he is and are deeply more meaty and satisfying analyses of the human condition.

'Interiors' really is a great film and features some captivating performances from Diane Keaton (never better than in Woody's films), Marybeth Hurt and Geraldine Page. Again, the female roles stand out and, even in relation to contemporary dramas, are refreshingly honest and believeable. True, there's not much humour, it borrows heavily from the great Ingmar Bergman and Allen improved on this with later films such as 'Hannah and Her Sisters' and 'Crimes and Misdemeanors'. But it still far out-strips most attempts at creating human conflict in film and the deceptively tranquil atmosphere leaves an absorbing sense of tension lingering long after the credits have rolled. After watching 'Interiors' for the first time, I immediately watched it again and found it even more compelling.

A true master of the art displaying his most luminous qualities and a film well worth re-discovering, particularly if you are a Woody Allen fan.

... is the final line of this film. And it certainly is a very noiseless film, at least seen from a decibel point of view. There's not even a score to the movie!

Still, a lot of things happen in »Interiors«. Basicly, it is about three sisters - as we have seen it in other Allen films. But this time, the main event is that their dad leaves their mom, and the story is based on the relationships between the different family members.

Beautifully and very intimately written, filmed and performed! A less-known but extremely aestehetic piece of art by Woody Allen. A must-see.