], he delved into his unconscious: - and it goes like this. I would never want to belong to any club that would have someone like me for a member. That's the key joke of my adult life, in terms of my relationships with women.
A.) fads and intellectual pomposity, his introspective neuroses and pessimism, his requisite jokes and psychosexual frustration about sex, numerous put-downs of his own appearance and personality, and distorted memories of his childhood.
The film's more sensitive and realistic (still-comical) yet serious-minded tone about an intimate and emotional relationship appealed to all film-goers, not just Woody Allen cultists.
Goodbar (1977), was a radical departure from this film, in which she took on the role of a promiscuous Catholic girl who ended up murdered - the victim of the singles bar scene.
The major theme of the film is that there are severe limitations in life (death and loss are the two most prevalent), but that art forms (such as the printed word, films, and plays) have the power to reshape reality and provide some measure of control, thereby compensating for life's limitations.
[It was only the second time in Academy history, up to that time, that one person was simultaneously nominated for three Oscars, Best Actor, Best Director, and Best Original Screenplay - Orson Welles had received a previous similar honor for Citizen Kane (1941).] The film influenced fashion designers (with the masculine, androgynous "Annie Hall" look) and made Diane Keaton a new leading lady. [Note: A reference to a film in which Diane Keaton played the role of Michael Corleone's (Al Pacino) wife.] Annie: You're gonna have to learn to deal with it.
[The "look" was a mis-matched, eclectic conglomeration of men's costuming: 30's style baggy light brown chino pants, an oversized man's white shirt, a dark grey, wide necktie with shiny polka-dot spots, a black waistcoat vest, and a floppy bowler hat.
And Woody Allen played a similar role as mentor to Diane Keaton (about New York life, politics, philosophy, and books), as did best friend Tony Roberts to Allen.] Allen's previous films might be characterized as a series of irreverent comic sketches with frequent instances of absurdist humor and slapstick.
In contrast, this urban dramatic comedy, his best-loved work, marked a major transition.
It defeated the science-fiction blockbuster Star Wars (1977) for Best Picture.
It was the first comedy since Tom Jones (1963) to take the Best Picture Oscar - and before that Frank Capra's It Happened One Night (1934).
Allen's own black comedy Deconstructing Harry (1997) twenty years later has been considered the 'dark' side of this film.