Review of Interiors (1978) by Ricardo O — 28 Feb 2010

It's not easy to compare Interiors to other Woody Allen films because it has so little in common with them, especially with his early work (other than Diane Keaton, obviously); which is why a lot of people refer to it as a 'bridge' between Annie Hall and Manhattan. If anything, it's more of a culmination of Allen's two preceding works - Love & Death and Annie Hall; an intentionally comedic Ingmar Bergman homage with dark undertones, and an intentionally dark comedy with dramatic undertones and Ingmar Bergman references. Interiors is a direct Bergman homage without the slightest bit of a sense of humor, which is something that cannot be said of any other Allen film in the 70's, not even Manhattan. And other than that important placement in Allen's career - first straight drama, and of course first film without a starring role - it's a strong film by its own right.

It's not a masterpiece, no. Just like some of the dramas Woody directed in the 00's - Cassandra's Dream or Vicky Cristina Barcelona - his influences are a bit too transparent in Interiors, and the film is not self-aware enough for that to be a good thing. That is to say, it feels more like Allen shadowing Bergman than Allen saying something original and personal while referencing Bergman. And yet, at its best moments, Interiors does feel personal and quite poignant. Even when the script turns needlessly brainy in a way that makes the dialog feel unrealistic, every scene is shot beautifully - more beautifully than any Allen film before, and in that way the bridge to Manhattan is important - and the acting is so fantastic that the dialog somehow works, most of all Geraldine Page in one of the last and best performances in her career.

Interiors is essential to Allen fans, and not just for biographical context, though they may be disappointed by not finding any of his trademarks. And it's a good film on any measure, if you're looking for a strong, touching family drama that can really touch a nerve.