AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Annie Hall
Alternate Title: Anhedonia
Director: Woody Allen (Dir)
Release Date:   Apr 1977
Premiere Information:   Filmex screening: 27 Mar 1977; Los Angeles opening: 20 Apr 1977 at Regent and Vogue theaters; New York opening: 20 Apr 1977
Production Date:   late spring/early summer 1976 in New York City, New Jersey, and Los Angeles, CA
Duration (in mins):   93-94
Print this page
Display Movie Summary

Cast: Starring Woody Allen (Alvy Singer)  
  Starring Diane Keaton (Annie Hall)  
    Tony Roberts (Rob)  
    Carol Kane (Allison)  
    Paul Simon (Tony Lacey)  
    Shelley Duvall (Pam)  
    Janet Margolin (Robin)  
    Christopher Walken (Duane Hall)  
  and Colleen Dewhurst (Mom Hall)  
  Featured Cast Mordecai Lawner (Alvy's dad)  
  Featured Cast Donald Symington (Dad Hall)  
  Featured Cast Joan Newman (Alvy's mom)  
  Featured Cast John Glover (Actor Boy Friend)  
  Featured Cast Jonathan Munk (Alvy, age 9)  
  Featured Cast Russell Horton (Man in theatre line)  
  Featured Cast Christine Jones (Dorrie)  
  Featured Cast Mary Boylan (Miss Reed)  
  Featured Cast Marshall McLuhan (Himself)  
    Helen Ludlam (Grammy Hall)  
    Ruth Volner (Alvy's aunt)  
    Martin Rosenblatt (Alvy's uncle)  
    Hy Ansel (Joey Nichols)  
    Rashel Novikoff (Aunt Tessie)  
    Wendy Girard (Janet)  
    John Doumanian (Coke fiend)  
    Bob Maroff (Man # 1 outside theatre)  
    Rick Petrucelli (Man # 2 outside theatre)  
    Lee Callahan (Ticket seller at theatre)  
    Chris Gampel (Doctor)  
    Dick Cavett (Himself)  
    Mark Lenard (Navy officer)  
    Dan Ruskin (Comedian at rally)  
    Bernie Styles (Comic's agent)  
    Johnny Haymer (Comic)  
    Ved Bandhu (Maharishi)  
    John Dennis Johnston (L.A. policeman)  
    Laurie Bird (Tony Lacey's girlfriend)  
  Lacey party guests: Jim McKrell    
    Jeff Goldblum    
    William Callaway    
    Roger Newman    
    Alan Landers    
  [and] Jean Sarah Frost    
    Vince O'Brien (Hotel doctor)  
    Humphrey Davis (Alvy's psychiatrist)  
    Veronica Radburn (Annie's psychiatrist)  
    Robin Mary Paris (Actress in rehearsal)  
    Charles Levin (Actor in rehearsal)  
    Wayne Carson (Rehearsal stage manager)  
    Michael Karm (Rehearsal director)  
    Petronia Johnson (Tony's date at nightclub)  
    Shaun Casey (Tony's date at nightclub)  
    Ricardo Bertoni (Waiter # 1 at nightclub)  
    Michael Aronin (Waiter # 2 at nightclub)  
  Street strangers: Lou Picetti    
    Loretta Tupper    
    James Burge    
    Shelly Hack    
    Albert Ottenheimer    
  [and] Paula Trueman    
    Beverly D'Angelo (Actress in Rob's TV show)  
    Tracey Walter (Actor in Rob's TV show)  
  Alvy's classmates: David Wier    
    Keith Dentice    
    Susan Mellinger    
    Hamit Perezic    
    James Balter    
    Eric Gould    
  [and] Amy Levitan    
    Gary Allen (School teacher)  
    Frank Vohs (School teacher)  
    Sybil Bowan (School teacher)  
    Margaretta Warwick (School teacher)  
    Lucy Lee Flippen (Waitress at health food restaurant)  
    Gary Muledeer (Man at health food restaurant)  
    Sigourney Weaver (Alvy's date outside theatre)  
    Walter Bernstein (Annie's date outside theatre)  

Summary: Alvy Singer grows up in Brooklyn, New York, and becomes a well-known comedian. Alvy and his girl friend, Annie Hall, are having relationship issues—she is withdrawing her affection, and saying that she is just going through a phase. Annie reminds him of how he used to be “hot” for Allison, but says that his ardor cooled off. At a 1956 benefit performance for Adlai Stevenson’s presidential campaign, Alvy meets Allison, who is coordinating the acts for the show. By 1964 as they start to make love, Alvy becomes obsessed with conflicting evidence related to the John F. Kennedy assassination, and Allison feels rejected as a result of Alvy’ obsession, and accuses him of using his fixation to avoid having sex with her. Alvy reflects that there is some truth in what Allison says—that, like the old Groucho Marx joke, he really doesn’t want to be a member of any club that would have him as a member. In a happier moment in their relationship, Alvy and Annie are vacationing at the seashore, and delight in each other’s company as they attempt to cook live lobsters for dinner. Alvy asks Annie if he is her first love? She say no, and reminisces about some of her old boyfriends. When Alvy suggests that Annie is lucky that he came along, she responds, “Well, la-dee-dah." Alvy is unimpressed with her choice of words, and Annie suggests that he prefers intellectual women and married two of them. But Alvy’s memories of his earlier marriages are not particularly happy, either. In 1975, on a tennis date with his friend, Rob, and Rob’s girlfriend, Janet, Alvy meets Annie Hall, a sometime actress from Chippewa Falls, Wisconsin. After their game, Annie offers Alvy a ride and invites him up to her apartment for a drink. Annie makes Alvy uncomfortable when she observes that he is what her Grammy Hall would call a “real Jew,” and goes on to mention that her grandmother hates Jews. As they have a rather pretentious conversation about Annie’s photography, their real thoughts are translated through subtitles as if they are in a foreign film. They try to arrange a date, but Alvy is busy on Friday night and Annie is busy on Saturday, auditioning at a local nightclub. Alvy tells Annie he’d love to hear her sing and she overcomes her shyness about singing in front of people she knows to allow him to attend. The audience is restless, and afterward Annie is embarrassed, believing that the people in the room hated her. Alvy assures her that she has a good voice and the audience loved her. He proposes that they kiss before going to dinner, to get over the awkwardness of a first kiss when they say good night. The cultural divide between them is revealed when having dinner at a delicatessen he orders corn beef on rye and she orders pastrami on white bread with mayonnaise, lettuce and tomato. That night they make love, and afterward Annie smokes a joint. She asks Alvy if he wants a puff of the marijuana, but he declines. Soon they move in together at Alvy’s place, although he believes that she should maintain a separate apartment. Later, at the beach house Annie wants to smoke a joint before making love, and suggests that Alvy might not need to visit a psychiatrist if he resorted to weed. Upset that Annie seems to need to get high in order to make love with him, Alvy takes the joint away from her, but as he starts to kiss her, Annie’s bored spirit becomes separated from her body and asks Alvy if he knows where she put her sketch pad so she can draw while he and her dispirirted body make love. When she says she needs grass to feel comfortable, he again tells her that it upsets him and that as a comedian he is not interested in getting laughs from people who are high, because they are always laughing anyway. Early in his own career, Alvy was reluctant to perform and wrote material for other comics who could not create their own material. But now he has overcome his fears and is successful. He plays the University of Wisconsin and Annie is impressed with his reception by the students and tells him that she is beginning to understand some of the cultural references in his act. Alvy and Annie go to spend Easter in Chippewa Falls with Annie’s family. Grammy Hall has baked a traditional Easter ham, and in her mind’s eye comes to see Alvy as an ultra-orthodox Hasidic Jew—with spring curls, a beard and wearing a black suit and black Homberg hat. Alvy compares the “white bread” Hall family with his own raucous New York Jewish family. Later, Annie’s brother, Duane, invites Alvy into his room and confesses that when he is driving at night he sometimes has the urge to drive head-on into oncoming cars. When Annie and Alvy are set to return home, her parents have Duane drive them to the airport. Alvy is petrified with anxiety. Back in New York, Annie accuses Alvy of following her. He denies the charge and says that he was spying on her and saw her kissing David, her Russian Literature professor. Later, Annie enters into psychoanalysis, and notes that Alvy’s last name is “Singer” and that she wants to be a singer. She accuses Alvy of not wanting to be in a committed relationship because he does not think she is smart enough. He counters that wanting her to take adult education courses is a way to broaden her horizons. However, he also contradicts himself by saying that such classes are empty and shallow. After Alvy and Annie have broken up, he muses that he has always been attracted to the wrong kind of women, and his friend, Rob, introduces him to Pam, a reporter for Rolling Stone magazine. Although they have little in common, they end up going to bed together and Pam describes sex with Alvy as being a Kafkaesque experience (referring to existentialist writer Franz Kafka). As Pam and Alvy have a post-coital conversation, the phone rings. Annie is having a crisis, and Alvy tells her he will come right over. When he arrives at Annie’s apartment at 3:00 AM he discovers that the crisis is merely that there are two spiders in her bathroom. Although there is still contention between them, after Alvy kills the spiders, Annie tells Alvy she misses him and asks him to stay. She does ask if there was someone in his room when she called, but he tells her that he had the television on. Later, in bed, Annie suggests that she and Alvy never break up again. Annie proposes they go away together for the weekend, and Alvy suggests they go to Brooklyn with his friend, Rob, and revisit the haunts of his childhood. For Annie’s birthday, he gives her some sexy lingerie, but she feels the present is more for him than for her. For her “real” present, however, Alvy gives Annie a wristwatch she has wanted. After singing again at the nightclub, Annie is approached by Tony Lacey, who asks if she is recording, and who invites her and Alvy up to is room at the Hotel Pierre for some drinks. At Alvy’s insistence, Annie turns down the invitation, and asks Alvy what he wants to do. They watch the documentary, The Sorrow and the Pity about French anti-Semitism during World War II. Later, with their respective analysts Annie and Alvy have similar but different observations. She views their day in Brooklyn as the last time they really had fun together. He feels that they never have any laughs anymore. Asked how often they have sex, Alvy says, “Hardly ever—three times a week,” while Annie responds, “Constantly! Three times a week.” At a get-together with friends, Annie and Alvy are offered cocaine. Annie urges Alvy to try it, and mentions that she and Alvy will be going to California. Asking what the cocaine in a small container is worth, he is told $2 thousand. Alvy dips the tip of his finger in the white powder, puts it to his nose and sneezes into the container, sending the drug up in a puff around the room. In California to present an award, Alvy is offended that Rob is having an editor add fake laughs to the latest episode of his hit comedy series. Alvy is suddenly taken ill and is unable to appear on the awards show. Rob takes Alvy and Annie to Tony Lacey’s Christmas party, and Tony suggests to Annie that they could record a record album in about six weeks. Flying back to New York Annie realizes that she liked California, and Alvy that he enjoyed flirting with other women. Each fears breaking up for fear of hurting the other, but ultimately they decide to separate. Later, leaving a movie theater alone, Alvy mentions to himself that he misses Annie, and a passing couple stops to tell him that she is living in California with Tony Lacey. Another stranger asks why he doesn’t go out with other women? Attempting to prepare lobsters at the beach house with another woman, things are not the same as with Annie and the magic is gone. He calls Annie on the phone, saying that he wants her to come back, and that if she won’t come to New York, he will come to Los Angeles to get her. In Los Angeles, Alvy calls Annie from the airport, and they agree to meet at a Sunset Strip health food café. Alvy asks Annie to marry him and return to New York, but she refuses. Being a New Yorker, Alvy is unused to driving. Leaving the restaurant in his rented car, he manages to smash into several other cars and lands in jail. Rob puts up Alvy’s bail. Back in New York, Alvy watches a rehearsal of his new play. Two actors recite dialogue from his last meeting with Annie—but art does not imitate life. The girl in the play agrees to return to New York with the protagonist. In the rehearsal hall, Alvy turns to the audience and says he wanted to have his first play turn out perfect the way life seldom does. He mentions that he had run into Annie again, that she’d returned to New York and was living with another guy. He saw her coming out of a screening of The Sorrow and the Pityy and considered it a personal triumph. Sometime later they had lunch and talked about old times and then parted. He’s reminded of an old joke about a guy who goes to a psychiatrist complaining that his brother thinks he’s a chicken. The doctor asks, “Why don’t you turn him in?” and the man replies, “Because we need the eggs.” Alvy recognizes that relationships are difficult, but we keep putting ourselves into relationships “because we need the eggs.” 

Production Company: United Artists Corp.  
Production Text: A Jack Rollins-Charles H. Joffe Production
Distribution Company: United Artists Corp.  
Director: Woody Allen (Dir)
  Robert Greenhut (Prod mgr)
  Fred T. Gallo (1st asst dir)
  Fred Blankfein (2d asst dir)
  Ted Devlin (D.G.A. trainee)
Producer: Charles H. Joffe (Prod)
  Fred T. Gallo (Assoc prod)
  Robert Greenhut (Exec prod)
Writer: Woody Allen (Wrt)
  Marshall Brickman (Wrt)
Photography: Gordon Willis , A.S.C. (Dir of photog)
  Fred Schuler (Cam op)
  Thomas Priestley (1st asst cam)
  Dusty Wallace (Gaffer)
  Robert Ward (Key grip)
  Brian Hamill (Still photog)
  Don Thorin (Cam op, Los Angeles unit)
  Larry Howard (Gaffer, Los Angeles unit)
  Carl Gibson (Key grip, Los Angeles unit)
Art Direction: Mel Bourne (Art dir)
Film Editor: Ralph Rosenblum , A.C.E. (Ed)
  Wendy Greene Bricmont (Film ed)
  Sonya Polanski (Asst film ed)
  Susan E. Morse (Asst film ed)
Set Decoration: Robert Drumheller (Set dec)
  Justin Scoppa, Jr. (Set dec)
  Thomas Saccio (Prop master)
  Joseph Badalucco (Carpenter)
  Cosmo Sorice (Scenic artist)
  Joseph Williams (Const grip)
  Barbara Krieger (Set dec, Los Angeles unit)
  Pat O`Connor (Propmaster, Los Angeles unit)
Costumes: Ruth Morley (Cost des)
  George Newman (Ward supv)
  Marilyn Putnam (Ward supv)
  Ralph Lauren (Clothing designs by)
  Nancy McArdle (Ward supv, Los Angeles unit)
Sound: James Sabat (Sd mixer)
  Jack Higgins (Re-rec mixer)
  Dan Sable /Magnofex (Sd ed)
  James Pilcher (Sd mixer, Los Angeles unit)
Special Effects: Computer Opticals (Titles)
Make Up: Fern Buchner (Makeup artist)
  Romaine Green (Hairstylist)
  John Inzerella (Makeup, Los Angeles unit)
  Vivienne Walker (Hairstylist, Los Angeles unit)
Production Misc: Martin Danzig (Loc mgr)
  Kay Chapin (Scr supv)
  Lois Kramer (Prod office coord)
  Patricia Crown (Asst to Mr. Allen)
  Sam Goldrich (Loc auditor)
  William Curry (Transportation capt)
  Chris Cronyn (Prod asst)
  Beth Rudin (Prod asst)
  Stuart Smiley (Prod asst)
  Scott MacDonough (Unit pub)
  E.U.E/Screen Gems (Video services)
  Juliet Taylor /MDA (Casting)
  Aaron Beckwith (Extra casting)
  Artie Butler (Miss Keaton's accompanist)
  Daisy Gerber (Loc mgr, Los Angeles unit)
  James Foote (Transportation capt, Los Angeles unit)
  Panavision (Cameras and lenses by)
  Deluxe (Prints by)
  Marcel Ophuls (The Producers Gratefully Acknowledge the Cooperation Given by)
  Donald S. Rugoff (The Producers Gratefully Acknowledge the Cooperation Given by)
  Productions Television Rencontre (The Producers Gratefully Acknowledge the Cooperation Given by)
  Budget Rent-A-Car (The Producers Gratefully Acknowledge the Cooperation Given by)
  and The City of New York (The Producers Gratefully Acknowledge the Cooperation Given by)
Animation: Chris Ishii (Anim seq)
MPAA Rating: PG
Country: United States
Language: English

Songs: "Seems Like Old Times" music by Carmen Lombardo, lyrics by John Jacob Loeb; "It Had To Be You" music by Isham Jones, lyrics by Gus Kahn. Recorded Music: "A Hard Way To Go," by Christopher Thomas Youlden, performed by Tim Weisberg on A&M Records; Christmas Medley performed by the Do-Re-Mi Children's Chorus on Vocalion Records; "Sleepy Lagoon," by Eric Coates and Lawrence Jack, performed by Tommy Dorsey on RCA Records.
Composer: Eric Coates
  Lawrence Jack
  Isham Jones
  Gus Kahn
  John Jacob Loeb
  Carmen Lombardo
  Christopher Thomas Youlden
Source Text:

Copyright Claimant Copyright Date Copyright Number
United Artists Corporation 4/4/1977 dd/mm/yyyy LP47932

PCA NO: 24806
Physical Properties: Sd:
  col: Deluxe
  Widescreen/ratio: 1.85:1
  Lenses/Prints: Camera and lenses by Panavision®; prints by Deluxe

Genre: Romantic comedy
Subjects (Major): Comedians
  Love affairs
  New York City
  Los Angeles (CA)
Subjects (Minor): Antisemitism
  Family relationships
  Motion picture theaters
  Political campaigns
  Record producers
  Rolling Stone (Magazine)
  Voyages and travel

Note: Annie Hall was ranked 35th on AFI's 2007 100 Years…100 Movies--10th Anniversary Edition list of the greatest American films, moving down from the 31st position it held on AFI's 1997 list.
       Actor Christopher Walken's name was misspelled in the end credits as "Christopher Wlaken," as well as actress Laurie Bird's name, misspelled as "Lauri Bird." End credits contain the following written statement: "The Producers gratefully acknowledge the cooperation given by Marcel Ophuls, Donald S. Rugoff, Productions Television Rencontre, Budget Rent-a-Car, and the City of New York."
       In an 8 Oct 1979 New York Magazine excerpt from their then-forthcoming book, When the Shooting Stops, , Ralph Rosenblum and co-writer Robert Karen quoted Annie Hall co-writer Marshall Brickman as saying that as the script developed in late 1976 and early 1977 it was tentatively titled Anhedonia (the inability to experience pleasure), and was centered around a forty year old stand-up comic who was going back through his life as a result of a mid-life crisis. The first cut of the film, which took six weeks to complete, was said to have clocked in at two hours and twenty minutes and was described as "the surrealistic and abstract adventures of a neurotic Jewish comedian" with Diane Keaton making only a brief appearance. Rosenblum and Karen went on to describe the film's original continuity, and the process by which the film was re-cut to focus on the romance between “Alvy Singer” and “Annie Hall.” A 20 Apr 1977 NYT article by Mel Gussow also described scenes shot and later cut from the film, and outlined similarities between the real lives of Woody Allen and Diane Keaton. Gussow noted that Keaton's real name was Diane Hall, that she called her grandmothers "Grammy," and used expressions like "La-dee-dah."
       As common for Woody Allen films, the production was somewhat secretive, with the title noted only as The Woody Allen Film during shooting and editing. DV revealed on 8 Feb 1977 that the title finally selected was Annie Hall with a premiere date set for 20 Apr 1977. However, the actual world premiere occurred in Los Angeles, CA, at the Plitt Century Plaza Theatres complex on 27 Mar 1977 as the closing entry of that year's Filmex film festival, according to a 24 Feb 1977 DV item. A 16 Apr 1977 LAT item by Gregg Kilday noted that there would be sneak previews of the film that evening in seven Los Angeles theaters.
       According to production notes in AMPAS library files, Annie Hall was Mel Bourne's first theatrical film credit as a production designer. Bourne had previously worked in theater and television. Some interior scenes were shot at the Pathé Studios located at 160th Street and Park Avenue, but most of the film was shot on various locations around New York City, including: St. Bernard School in Greenwich Village; the Terrace Ballroom of the Statler Hilton Hotel; the Seaport Museum in lower Manhattan; the Grand Finale nightclub on West 70th Street; the Thalia, New Yorker and Paris movie theaters; Coney Island in Brooklyn; and Amagansett, Long Island. Scenes set in Wisconsin were actually shot in New Jersey. The film shot for ten weeks in and around New York City before moving to Los Angeles for two additional weeks of shooting.
       A 3 Aug 1977 DV article by Joseph McBride announced the settlement of a dispute between the Writers Guild of America (WGA) and United Artists (UA) over the use of the possessive "Woody Allen's breakthrough movie" quoting critic Richard Schickel in newspaper ads for the film. Arbitrator Roger H. Davis allowed UA's use of the quote, but awarded co-screenwriter Marshall Brickman $5,000 because UA failed to submit the ad to the WGA for approval. This was part of WGA's longstanding and ongoing campaign to discourage the use of possessive credits for film directors.
       A 12 May 1983 HR item noted that Brooke Shields and Stacey Nelkin both had roles in Annie Hall that ended up on the cutting room floor before initial release.
       Initial critical reaction ranged from highly negative ("It is a film so shapeless, sprawling, repetitious, and aimless as to seem to beg for oblivion," wrote John Simon in the 2 May 1977 issue of New York magazine), to ecstatic (' Annie Hall is by far the most brilliant Woody Allen movie to date," observed Andrew Sarris in the 25 Apr 1977 Village Voice ), to tepid ("Allen has simply, and quite successfully, moved from his own peculiar updating of Marx Brothers farce to his own peculiar updating of forties romantic comedy . . ." offered Richard Corliss in the 13 May 1977 issue of New Times ). However the film went on to become Woody Allen's most popular film to date.
       A late Apr 1977 issue of DV noted that the film first opened in New York and Los Angeles on 20 Apr 1977 and in Tucson, AZ on 22 Apr. New openings were set for 27 and 29 Apr with 128 prints scheduled to be in circulation. By 18 May 1977 Var reported that the film had been in circulation for twenty-six days and was playing in 357 theaters with a gross to date of $6,421,416. By early June 1977 after six weeks of distribution and "more than 400 prints circulating," Annie Hall had grossed $12,056,548 to date.
       The film opened in Paris, France, on 7 Sep 1977. A 14 Aug 1979 United Artists press release noted that film had completed its hundredth consecutive week in Paris theaters and its ninety-seventh continuous week in London.
       A 23 May 1978 United Artists press release found in AMPAS files announced that Jack Baker 5th Avenue had been licensed to create a line of Annie Hall inspired clothing for women.
       A 24 Nov 1981 Var article announced that United Artists Classics planned to reissue eight Woody Allen-UA films as a "Woody Allen Film Festival" with all new prints. The package was set to play first-run theaters, not revival houses, with "standard 90/10 [percentage] deals with floors and guarantees," requirements for three-week runs, and an option for "a one-week holdover in which [all] the films will be shown at least once." During the initial three-week period, the films would be shown in "different combinations of double features that will change three times a week." The eight films, produced between 1971 and 1980, included Annie Hall, Manhattan, Stardust Memories, Interiors, Love and Death, Sleeper, Everything You Always Wanted to Know About Sex, and Bananas (see entries), and it was noted that they had previously been withdrawn from distribution in the spring of 1981 due to poor surviving circulating print condition.
       A 17 May 1991 HR brief noted that the house beneath the Thunderbolt roller coaster at Coney Island, which appeared in the film as Alvy Singer's childhood home, had been destroyed in a fire caused by faulty wiring.
       The 22 Dec 1977 issue of HR reported that Annie Hall was named Best Picture by the National Society of Film Critics and the New York Film Critics’ Circle.
       Woody Allen received an Academy Award nomination as Best Actor in a leading role for Annie Hall , which won Oscars in the following categories: Best Actress in a Leading Role-Diane Keaton; Best Director-Woody Allen; Best Picture-Charles H. Joffe; and Best Writing, Screenplay Written Directly for the Screen-Woody Allen, Marshall Brickman. The film also won a Golden Globe Award in the category: Best Motion Picture Actress - Musical/Comedy-Diane Keaton; and received Golden Globe nominations in the categories: Best Director - Motion Picture-Woody Allen; Best Motion Picture - Musical/Comedy; Best Motion Picture Actor - Musical/Comedy-Woody Allen; Best Screenplay - Motion Picture-Woody Allen & Marshall Brickman. The film was named "Best Foreign Film of 1978" by the German league of art-film exhibitors (Gilde deutscher Filmkunsttheather), and also received British Academy of Film and Television Arts and Sciences (BAFTA) Awards in the categories Best Picture; Best Actress--Diane Keaton; Best Director--Woody Allen; Best Screenplay-Woody Allen and Marshall Brickman; and Best Film Editing-Ralph Rosenblum, A.C.E. and Wendy Greene Bricmont. 

Bibliographic Sources:   Date   Page
Box Office   25 Apr 1977.   
Cosmopolitan   Jul 1977.   
Daily Variety   8 Feb 1977.   
Daily Variety   24 Feb 1977.   
Daily Variety   3 Aug 1977   p. 1, 6.
Daily Variety   24 Nov 1981.   
Filmfacts   1977   pp. 73-77.
Hollywood Reporter   6 Apr 1977   p. 3, 10.
Hollywood Reporter   22 Dec 1977.   
Hollywood Reporter   12 May 1983.   
Hollywood Reporter   17 May 1991.   
Los Angeles Herald Examiner   30 Mar 1978.   
Los Angeles Times   16 Apr 1977.   
Los Angeles Times   17 Apr 1977   Section IV, p. 1.
Motion Picture Herald Product Digest   11 May 1977   pp. 93-94.
New Times   13 May 1977.   
New York Magazine   2 May 1977   p. 74.
New York Magazine   8 Oct 1979.   
New York Times   20 Apr 1977   Section C, p. 1, 26.
New York Times   21 Apr 1977   Section III, p. 22.
New Yorker   25 Apr 1977   p. 136.
Time   25 Apr 1977   p. 70.
Time   26 Sep 1977   pp. 69-71.
Variety   30 Mar 1977   p. 18.
Variety   18 May 1977.   
Variety   24 Nov 1981.   
Village Voice   25 Apr 1977   p. 45.
Vogue   Jun 1977   p. 22.

Display Movie Summary
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
Advanced Search
Support our efforts to preserve hisotory of film
Help AFI Preserve Film History

© 2017 American Film Institute.
All rights reserved.
Terms of use.