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Hannah and Her Sisters Review: The film that, in the words of one critic, established Woody Allen as the urban poet of our anxiety-ridden age, Hannah and Her Sisters was Allen's most accomplished film since Manhattan. Returning Allen to the landscape of his beloved Manhattan, Hannah was a warm, perceptive, deeply human affair with a distinctly Chekhovian feel (starting from its three sisters motif), a dramatic comedy that elevated longing, discontent, and hope into a kind of artistic expression. The film seemed to differ from Allen's previous works in its attitude; with Hannah, he seemed to reach a state of contentment, pleasing himself as he pleased his audience. The cinema's undisputed kingpin of neurosis and self-doubt, Allen had always produced material that was dependably quick-witted and literate, but tinged with perpetual dissatisfaction. With Hannah, Allen finally appeared to be enjoying himself, and in so doing he set a new standard for both himself and other comedy filmmakers. Rich, intricately detailed, and novel-like in its narrative scope, it was perhaps Allen's most complete and satisfying film, taking its cues from his past work while beckoning in new directions for the future. Rebecca Flint Marx, All Movie Guide

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