Annie Hall*

The 1970s were revolutionary in that people began to question once-acceptable institutions and lifestyles. One very radical change that transpired in the United States was the feminist movement. Along with this movement came the sexual revolution where suddenly women acquired more dominance in their romantic and sexual relationships. Women’s newfound independence offered them much more happiness and liberation, yet it seemed the rewards of this revolution were not mutual. Men became very threatened by the idea of women in control and were reluctant to embrace the idea. With men still clinging to the idea that their role was one of sexual master and family breadwinner, women struggled to find the equality they deserved when relating to men. Romance failed to live up to the fairy tale, and dating became an arduous struggle to build a successful, reciprocal relationship. Woody Allen seemed to have understood these struggles when he wrote and directed Annie Hall in 1977.

The film dissects the relationship between Allen’s neurotic Alvy Singer and his girlfriend of the film’s title played by Diane Keaton. The film provides a recapitulation of their romance from Alvy’s fatalistic perspective as he attempts to grasp some kind of justification for the relationship’s failure. In my paper, I will argue that Annie Hall interprets the tragic dimensions of 1970s romance by arguing that changing gender roles caused alienation and frustration within male-female relationships.

The New Female Role: Hurdles and Opportunities

For many women prior to the ‘70s, marriage seemed like a necessity and it was difficult to find security without finding a husband as well. Although it was becoming possible for women to remain single while maintaining happiness and success, choosing single life and the dating scene over the protection of marriage wasn’t as accommodating and liberating as it appeared to be. Explains Barbara Ehrenreich and Deirdre English in their book For Their Own Good: 150 Years of the Expert’s Advice to Women, “The constituency for neo-romanticism is the vast number of women who see themselves as potential "losers" in the sexual free marketplace: housewives who have no alternative means of support to their husbands' income and they fear, no alternative to their present husbands” (319). Besides rejecting the security of marriage, women adopting the single lifestyle encountered the likelihood of being objectified by men reluctant to recognize women as their equals. Says Margaret Adams, author of Single Blessedness: Observations on the Single Status in Married Society, about the role constrictions placed on single women, “Their age and physical attractiveness are repeatedly evaluated as more important than their personality or intelligence. They should be flirtatious and dressed to kill, yet not seem too ‘easy’” (211). In Annie Hall, Alvy immediately places these restrictions on Annie. Upon their first meeting, Alvy and Annie engage in an uneasy and somewhat awkward conversation in Annie’s apartment. Due to Woody Allen’s clever narrative style, the scene allows the audience to literally read each person’s thoughts from the subtitles inserted into the scene. Annie strives to impress Alvy with her interest in photography in order to convince him she is not some dim-witted bimbo, yet all the while the subtitles reveal Alvy pondering how great-looking Annie is, speculating how she looks naked. Allen emphasizes how because certain men possessed these superficial expectations, women struggled to establish a truly “liberated” role in their relationships with men. Although this was one of many impediments single women encountered, being recognized as bright and competent rather than visually stimulating was a crucial step for women striving to attain the respect of their male counterparts.

Annie’s initial problem upon meeting Alvy resides in her naiveté, trusting that Alvy will provide her with a secure relationship because he appears to be very intellectual and sophisticated. Says Ferm McKay, a university professor married for ten years, “Before feminism, our generation of smart girls used our intelligence to make the best deal in marriage. We matched ourselves with strong, confident men who could give us some of their identity. Now that we’ve found our own identity and our own emotional reality, we’re stuck with the cold, overbearing guy who was once such a good catch” (85). This is precisely what Annie comes to realize as her singing career takes off. She meets new and exciting people and develops a confidence completely independent of Alvy’s influence. Suddenly it becomes clear to Annie that Alvy’s intelligence and sophistication to which she once clung are, in fact, disguises for his obsession, jealousy and self-loathing. The romantic element of their relationship is no longer feasible, and Annie must move on. Jean Jamm, a 26-year-old trial lawyer, must have understood this situation when she said, “The very idea of a romantic life is ridiculous to me. I am looking for companionship and for activities that enrich my life” (Newsweek 67). Women were finally realizing the potential they held as individuals; meanwhile, men began to lose touch with their role in this new world of women.

Men Struggle with the Independent Woman

While women in the 1970s obtained freedoms in the workplace and in their relationships, men gained insecurities about where they stood in such a society. Explains Edward J. Bardon, psychiatrist affiliated with the University of Minnesota, “We commonly associate sexual prowess with the strong, dominant male and sexual responsiveness with the passive yielding female. To depart from our traditional role is to invite fears of our sexual abilities and attractiveness” (31). While men found the independent woman attractive, as soon as he had her in his life, this independence became more threatening to him. Judy Jarvis illustrates this point very clearly in her article, “The New Rules in the Mating Game” from a 1978 issue of Esquire Magazine. She suggests that the man will claim, “‘I like you because you’re strong and independent. So strong.’ But as soon as the woman has other plans or runs into some other man when she’s out with him, he gets nervous. Then he’s on the telephone the next day trying to line her up for the next seven weekends. The independence is what grabs him, but he really wants her to be more dependent, more submissive” (40). As their relationship progresses, Annie begins to progress as well, proving her strength and independence to Alvy. Annie’s singing and talent improve and consequently her self-confidence and integrity increase as well. Her doubts about her own intelligence are diminishing and she no longer needs Alvy to reassure her of her self-worth. Annie’s newfound self-respect proves to be disastrous for Alvy, however, as he grows more insecure and possessive of Annie’s carefree, adventuresome life. He is reluctant to attend parties associated with the record producers and musicians Annie has befriended, and he complains incessantly during his trip California, while Annie is delighted with the cleanliness and excitement that Los Angeles has to offer.

Annie: It's so clean out here!
Alvy: That's because they don't throw their garbage away, they turn it into television shows.

Not every man in the 1970s felt this same insecurity, and by simply portraying this one characteristic of the male perspective, Allen is clearly stressing that which challenged women’s liberation as to offer a unique interpretation of widely discussed issue He presents Alvy and Annie as developing distinct viewpoints due to Annie’s newfound independence. While Alvy is aware of this reality, however, he neglects the opportunities to inform Annie of his concerns, leaving the pair with a whole new conflict that affected similar romantic relationships during the 1970s.

Breaking the Silence

An obvious obstacle in Alvy and Annie’s relationship is their failure to communicate problems and maturely search for a solution. Annie, though it may have been easier for her as a woman to express emotion, finds difficulty in being honest with Alvy as he habitually turns serious issues into comical banter. As Tim Dirk explains in his review of Annie Hall, “Annie stutters about her love for [Alvy]. Serious emotional words fail Alvy when he tries to tell Annie how much she means to him. He circumvents the word and retreats into comedy to directly avoid vowing that he loves her.” A part of this dilemma lies in the freedom given to women that, although guaranteed power, placed an equal burden of possibly voicing anxieties that would send their men packing. Carol Tavris and T. George Harris, both psychologists, point out that, “So many women find themselves stranded on the line between liberation and loneliness, facing impossible alternatives. The choices are tough. Stay with an unsatisfactory status quo, compromise, press for change, or leave. Or opt for celibacy” (49). In his inability to take Annie seriously and behave seriously himself, Alvy alienates Annie, triggering her uncertainty as to what she can discuss that will not divert him.

Issues about Alvy and Annie’s sexuality are also confined and though they argue about it, neither feels the need to discuss it except to their respective analysts. Tavris and Harris explain, “With all the chatter about sex today, people are still reporting that they have severe trouble telling each other what they really want—in sex and in love. It’s easier to talk to an anonymous questionnaire or a professional listener than to the stranger in our bed” (49). Still, undeniable differences existed between men and women especially in how each regarded sexual issues, and had these differences been voiced between Alvy and Annie, the conflict may have been alleviated somewhat. As James C. Neely, journalist for Esquire magazine, explains in his article, “Male and Female: Nature’s Cosmic Joke,” the problem is that, “Young women and men come together for wholly different psychological and social needs, deriving perhaps from infantile sexual conditioning, but they are not the least concerned with such at the time of the required coupling” (42). We see, for example, how Annie and Alvy view their sex life differently as both simultaneously discuss the issue with their personal psychiatrists:

Alvy's analyst: How often do you sleep together?
Annie's analyst: Do you have sex often?
Alvy (lamenting): Hardly ever, maybe three times a week.
Annie (complaining): Constantly, I'd say three times a week

Alvy’s constant need for sex and the problems it causes for Annie are illustrated in Neely’s explanation: “The young man feels his sex as a specific discomfort, a localized tension and drive, with uncontrollability at the damndest times. It gets in his way. He wants her specifically for release, and he painfully learns discipline in risking himself in this often-frustrating way. The young woman wants his sex for another reason entirely” (42). Allen’s depiction of sexual estrangement between Alvy and Annie accentuates the fact that men and women maintained very distinct sexual views and this led to further frustration. Sex definitely presented a discord between men and women; the bigger problem, however, arose when men began to lose control of their dominant sexual role.

The Sexual Revolution and the Death of the Dominant Male

Generally speaking, men have viewed themselves as the pursuers, the dominators and the conquerors in their relations with women. To maintain confidence and comfort, men required women to be passive and adhere to their demands. “To the man steeped in the tradition of dominance, authority and power, women’s liberation appears as a distinct threat. As women become independent and achieve positions of greater control, these men sense mastery slipping from their grasp. They view this as an uncalled for usurpation of power.” (Bardon 216) Where this revolutionary concept appeared to cause the most affliction among men was within their sexual relationships. “Women’s liberation places increased pressure on the male to perform sexually and be a good lover. The feminist message that women have an inherent right to sexual satisfaction means that the male can no longer be concerned only with his own pleasure. He must now make efforts to please his partner” (Bardon 221). Alvy displays definite anxiety when faced with Annie’s constant need to smoke marijuana before they have sex. Annie claims she needs to feel relaxed, but Alvy exhibits concern over whether or not he gives her enough pleasure to enjoy the experience “free of grass.” He is also struggling to maintain dominance, as he feels threatened by his inability to control Annie to the fullest extent. The marijuana is essentially what pleases Annie rather than Alvy’s skills as a lover. Had Alvy felt confident in his sexual abilities, he would not have persistently objected to Annie’s desire for the drug. Nevertheless, Annie agrees to sex without marijuana, and although they go through the motions of sexual intercourse, Annie’s apathetic and removed spirit rises from her to sit in a chair next to the bed while Alvy is left with only her body. Alvy’s inadequacy issues intensify when Annie then says, “Alvy, do you remember where I put my drawing pad? Because while you two are doing that, I think I'm going to do some drawing.” As film critic Tim Dirks points out, “He is frustrated, because he cannot entirely possess her.”

The simple fact that Annie engages in drug use prior to sex was also something very groundbreaking about women’s sexuality. Females took an active role in pursuing a more beneficial sex life, and a man had to accede to not always having the ability to please a woman on his own. According to a poll of 100,000 readers in Redbook magazine taken in 1975, nearly 65 percent of the women occasionally had sex while under the influence of alcohol and 63 percent of the women under 25 sometimes smoked marijuana before having sex. Annie Hall represented a whole generation of women discarding the expectations of men because it was finally time to acquire some of the power. “Our findings show that women have completely abandoned the role of passive sexual partner. They are now active participants in the sexual relationship,” states sociologist Robert J. Levin. (Newsweek 57) Allen’s insecurity concerning male dominance likewise manifested itself in Alvy’s doubts about Annie’s faithfulness.

The taboo concept of the promiscuous female simply did not seem possible to men prior to the sexual revolution. The idea of a woman straying from her obligation and loyalty to one man seemed absurd even though when men would occasionally cheat or desire another woman, women still practiced fidelity in order to please her partner and keep him in her life. These double standards are illustrated in an article by Karlyn Bowman featured on the website, The Public Perspective: A Roper Center Review of Public Opinion and Polling. It states, “There is a long-standing belief that men are more prone to temptation than women. In 1943, in one of the first questions of its kind, Elmo Roper didn't even think to ask men about women's extramarital dalliances…In 1946, when Gallup asked women to list the top faults of their husbands, thoughtlessness topped the list followed by bossiness and ‘other women.’ ‘Other men’ wasn't even mentioned by men who were asked about their wives' faults.”

The ‘70s ushered in a change, however, that would contribute to the sexual liberation of women as well as the additional concern of men. In the same sexual survey conducted by Redbook magazine mentioned above, one-third of the 100,000 women polled claimed to have had extramarital affairs, while 36 percent said they would like to participate in one. Because it was becoming acceptable for women to abandon their monogamous duties, men no longer held the upper hand and this loss of control alarmed them. Allen exhibits his apprehension through Alvy’s resentment. In the midst of their relationship, Alvy grows increasingly jealous of Annie and her relationships with other men, including her professor of a class he convinced Annie to take. As Annie discusses her professor’s fondness for her, Alvy’s concerns escalate, and he accuses Annie of having an affair and proceeds to spy on her when she goes to class. Alvy’s hypocritical nature surfaces when Annie points out that Alvy is the one who wanted to avoid the commitment and keep things “flexible.”

Without a doubt, the ‘70s included a wholly separate breed of men who were comfortable with women taking control of their relationships. Nevertheless, Allen chose to focus on the idea of threatened masculinity to draw attention to some the setbacks of the feminist movement. With Alvy and Annie’s growing frustration and anxiety came their urge for change. The pair realized what they disliked in the other person, and suddenly a simple irritation with the relationship resulted in a ruthless struggle for power.

Finding Equality and Mutual Respect

A difficult issue most couples faced when dating was the struggle to change his or her partner in an effort to gain power in the relationship. One person is not satisfied with the other’s behavior but the attempt to change the other’s life could lead to serious ill effects. For example, Letty Cottin Pogrebin, co-founder of Ms. Magazine and the National Women's Political Caucus, makes a valid point when she says, “There may be moments when you wish you had never begun. Guilt, ambivalence and fear of abandonment are common by-products of the struggle for change” (44). Allen was aware that a slight hesitance was still present in women despite their urge for liberation, and he took that concept and manipulated it as to challenge the idea of feminism as successful. Alvy and Annie are constantly debating about Annie’s intelligence. Alvy pressures Annie to take adult education classes further reinforcing Annie’s uncertainty about her intellect. Alvy will deny thinking Annie is inferior, but he finds comfort in trying to transform Annie into someone more like him. As film historian Patricia Mellencamp points out in her book A Fine Romance: Five Ages of Film Feminism, “The real key to Allen is his ambivalence toward women—pure Freud, with women loved and feared, worshiped and disdained. Annie refers to herself throughout the film as stupid. Alvy/Allen denies it while the film illustrates it” (95). Allen observed the change in the female role during the 1970s, and rather than embrace its potential for women by portraying Alvy as someone who supports and encourages Annie, he instead represents Alvy as egocentric and manipulative suggesting Allen’s reluctance to bestow upon women their sought out place in society.

In his dismissal of Annie’s individualism, Alvy does not see her interests or opinions as valid or significant and consequently, he attempts to transform her personality into a reflection of his own. Fixated on the subject of mortality, Alvy wants to buy two less-than-uplifting books for Annie including Ernest Becker's The Denial of Death and Jacques Choron's Death and Western Thought. Basically his ulterior motive is to convert Annie into a death-obsessed, intellectual New York Jew. On the contrary, Annie is considering buying something more simple and innocuous like The Cat Book because she is thinking of buying a cat to alleviate the loneliness of her social life. Her outlook appears trivial to Alvy, and through Alvy’s rejection of Annie as her own person, Allen’s skepticism of female independence is revealed despite any instances in the film where Allen may show Annie in a positive light.

The Romantic Comedy, Or Something Like It

Woody Allen significantly revolutionized the romantic comedy genre with Annie Hall, as it was the first of its kind to convey the neuroses men and women share when struggling to find equality in their relationships. In reality, romance is not always beautiful, elating and painless where two lovers engage in passionate embraces to the tune of violins. Relationships are unstable, bewildering, and disconcerting, and Allen took the initiative to portray relationships in this manner to offer his audience a new way of approaching film romance. Allen does not sugar coat anything about love for entertainment value but creates a character in Alvy Singer that helps provide an interpretation of the fears and trepidations of a selection of single men in the 1970s.

Allen’s film also comes at a time when the male sex symbol of classic romantic cinema was surely fading. For example, in Jeanine Basinger’s article, “A Farewell to the Male Mystique,” the role of the female is discussed as empowered and no longer in need of her male counterpart to achieve happiness. Says Basinger, a film professor at Wesleyan University, “The ‘road’ pictures of the late sixties, which featured runaway wives and women out in the world seeking themselves, marked the time when women began to provide their own escapes. No longer did a young woman stand at her bedroom window, dreaming of a man to come and take her away. If she wanted to go, she went” (23). Gregg Kilday, journalist for Daily Variety, also points out that, “It's the women --- whether empowered by family money in the old days or by their own high-powered careers in more recent films --- that usually have the upper hand in the battles of the sexes that ensue” (26). With women not only taking control of their lives but also the texts of films in the late ‘60s and ‘70s, Allen made a bold statement with Annie Hall by presenting the film from his character’s perspective. Although we see Annie as liberated through her separation with Alvy, this liberation is interpreted as a loss for Alvy and it is he, the male figure of the film, who obtains our sympathy. Women may have gained a certain degree of independence in the 1970s, but with Annie Hall, Woody Allen offered the interpretation that changing gender roles could also result in social, intellectual, and sexual barriers between men and women that would inevitably limit this newly acquired independence.

Bibliography available upon request

*1977 Academy Award Winner for Best Actress (Diane Keaton), Best Picture, Best Director, Best Original Screenplay