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As Good As It Gets

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Nothing could keep me watching this film after the first hour. Dialogue was putting me to sleep, and not just the burdensomeness that made me want to slink down and curl my shoulders forward, but the tone. And the sets. And the clothes. Bland and banal.This film felt like a wanna be Graduate or Last Tango in Paris. Although I do not expect the sensationalism of these films, I did hoped something would grab me, rather than making me exhausted because watching felt like work.

Interiors is one of the most divisive films of one of the most love-it-hate-it directors. For me Interiors is not one of Allen's best films(Annie Hall, Crimes and Misdemeanours, Manhatten, Hannah and Her Sisters, Husbands and Wives) with some dialogue monologues that ramble on a bit too much, but when it comes to his most underrated films Interiors is very high on the list. It is very easy to see why people wouldn't like it with how bleak it is and how it's different from much of what Allen has done, but those are hardly reasons to dismiss Interiors because apart from the occasional rambling it is a great film. It is very stylishly shot with good use of locations, probably Allen's second most visually striking 70s film after Manhattan. Like Annie Hall, there's no music score and that's not a bad thing at all, Interiors is a very intimate and intricate film and having no music added to that quality. Much of the dialogue is full of insight and pathos, to me it did have dramatic weight and it is one of Allen's most honest films along with Husbands and Wives. The screenplay is not "funny" as such and is not as quotable as Annie Hall, but it wasn't ever meant to be. The story is paced deliberately but how Interiors was written and performed ensures that it isn't dull, it was very moving(personally it didn't topple into melodrama) and layered storytelling- didn't notice any convolutions- deftly handled. Allen directs assuredly in one of his more restrained directing jobs. The characters are neurotic and not the most likable, but are written and performed with such compelling realism that in the end there is some sympathy felt for them. The cast was a talented one in the first place, and none of them disappoint. Especially good are Geraldine Page, in one of her best performances, in very frightening and heart-breakingly tormented form and Mary Beth Hurt, the centrepiece of the story and is very affecting. Maureen Stapleton is a breath of fresh air as the most lively character- an anti thesis to the rest of the characters but not an out of place one- and E.G. Marshall brings a great deal of quiet dignity. Diane Keaton when it comes to Woody Allen films is better in Annie Hall and Manhattan but plays a purposefully shrill character with gusto. Richard Jordan and Sam Waterson are fine. Kristin Griffith is good too but her part seemed underwritten. All in all, won't be for everybody but a great film from personal perspective and one of Woody Allen's most underrated. 9/10 Bethany Cox

I watched Interiors years ago and the impression that it left me was one of a bleakly brilliant film. I managed to watch it again and found that my love of this film has not diminished at all.Woody Allen is an admirer of Ingmar Bergman and in Interiors it show. This is his homage to Bergman and a fine homage it is.Allen is better known for his comedies such as the excellent Annie Hall and What's New Pussycat. Interiors is a change of pace for him. Restrained, serious and at times quite dark, this is a film for people who want depth in their films.Three sister, all who have problems of their own are suddenly having to deal with their parents divorce. E.G. Marshall as Arthur, their father and Geraldine Page as their mother Eve, a cold repressed and mentally unstable woman.The sisters have to face the fact that not only are their parents divorce final but their father has met another woman Maureen Stapleton as the fun loving Pearl.The eldest daughter, Diane Keaton as Renata the middle daughter, Mary Beth Hurt as Joey and the youngest daughter, Kristin Griffith as Flyn all deal with it in their own ways. Renata is a successful writer married to a one hit writer, Sam Waterston as Mike.Joey is trying to find a creative outlet but she is not as talented as her older sister and Flyn is an actress in second rate TV shows and movies.Joey is the one who ends up having to care for her mentally ill mother and is filled with frustration and resentment. Flyn is rarely around and Renata is the one who has to cope with the backlash of all of it.Then things reach a crisis point when their father remarries a cheerful and likable woman who the daughters do not approve of and refer to her as a vulgarian.This is the perfect study of a family who despite being wealthy well educated people, are dysfunctional and in their various ways, selfish and at times rather petty. These people are not always likable, except for Pearl. But there are times when the viewer can feel sympathy for them.I don't understand why this film garnered so many negative reviews. I know that this is not the usual Woody Allen fare, but this film is intelligent and thoughtful. A quiet piece, beautifully shot and acted, it deserves a place in history as a true classic.

At the very least, "Interiors" is fascinating viewing because it's so damn hard to believe it was written and directed by the same person who had made "Sleeper" just five years earlier, in which he also acted, and spent his first five minutes making weird faces at the camera. With "Interiors", Woody Allen goes out of his way to eliminate every trace of humor or happiness out of the picture, and nearly every trace of warmth as well. It's a moody film dripping with misery. There are scenes and lines that cry out for a comic spin ("I want to express something but I don't know what to express or how to express it" or "An enormous abyss between us" - reminded me of the "empty void" that Allen's character was feeling in "Love And Death"), but Allen is determined to play it all deadly straight. In later films such as "Hanna And Her Sisters", he would temper the heavy drama and the psychoanalysis with sarcastic observations and memorable one-liners, and the results would be both more balanced and more enjoyable. But if you accept "Interiors" for what it is, it really is extremely well made. Though most of the characters are clichés, they are so perfectly acted that they become real persons. And Allen's choice not to include a music score is as brilliant as when Alfred Hitchcock did it for "The Birds". *** out of 4.