Synopsis:
After the tremendous success of ANNIE HALL, Woody Allen took a huge risk and turned serious with INTERIORS, his Bergmanesque masterpiece--a dark, intense look at a family suffocating itself in...
After the tremendous success of ANNIE HALL, Woody Allen took a huge risk and turned serious with INTERIORS, his Bergmanesque masterpiece--a dark, intense look at a family suffocating itself in thoughts of failure and death. Geraldine Page is extraordinary as Eve, a troubled woman who cannot face reality. When Eve's husband, Arthur (E.G. Marshall), announces that he's moving out of the house, their three daughters (Diane Keaton, Mary Beth Hurt, and Kristin Griffith) gather around the mother, attempting to help her through this crisis, but they have been raised with such coldness and aloofness that they are helpless.
The first movie that Allen wrote and directed but did not appear in, INTERIORS is about closed spaces, both physical and psychological. Most of the scenes feature the intense cast standing by windows, looking out at the world that is going on outside without them. The opening shot of Renata (Keaton) reaching out to the window, spreading her fingers, is mesmerizing. Gordon Willis's photography washes the film in shades of black, white, and gray--the only color comes from Pearl (Maureen Stapleton), Arthur's new lover, who is vibrant and impulsive, everything Eve's family is not. The film also has no background music whatsoever; in fact, aside from one scene in which Pearl plays a jazz record, the only background sounds that can be heard are the quiet call of the ocean and the sisters' careful breathing. Slow-paced, bleak, and marvelously insightful, INTERIORS is a poignant film that should not be missed.
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