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Allen’s stunning use of black-and-white cinematography (by Gordon Willis) and music score by Gershwin makes this meditation on love and life in New York one of his most memorable – especially in retrospect.
This article appears in June 16 • 2000.
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Marjorie Baumgarten is a film critic and contributing writer at The Austin Chronicle, where she has worked in many capacities since the paper's founding in 1981. She served as the Chronicle's Film Reviews editor for 25 years. More by Marjorie Baumgarten
