christopher-underwood An odd choice, perhaps, as my first Woody Allen Blu-ray, but ultimately not such a bad choice because, this not being one of 'the funny ones', much emphasis is placed upon the visuals. The dialogue is fine, a little lacking here and there, where it tries to reach too high and the levels of introspection, so couched in the expected mannerisms we are used to with Woody, that we occasionally begin to smile, anticipating the joke. Nothing terribly funny here though as the consequences of an overbearing and unintelligent mother are laid bare as her husband leaves and her three daughters struggle. Struggle both in life and in meeting her expectations of their affection for her and support against their father. Fairly predictable stuff but in the end quite affecting and by no means as bad as some have suggested.

avik-basu1889 For any person exploring Woody Allen's filmography right from the beginning, 'Interiors' when it appears, will always prove to be a very intriguing and peculiar film to confront and examine as it is so very different from anything that comes before it. In the initial stage of his career, Allen's films were slapstick comedies which were ornamented by heavy dozes of homages to comedic greats like the Marx Brothers, Charlie Chaplin and Buster Keaton. However the change in tone in Allen's films can be noticed from 'Love and Death' onwards. In 'Love and Death', although we get the slapstick, there is a certain air of restraint in it compared to his earlier efforts like 'Sleeper', 'Bananas', etc. Then with 'Annie Hall', the comedic treatment of the relationships and characters became far more mature and his emphasis was more on using the intricacies of cinematic medium and storytelling techniques to drive home the comedy instead of slapstick. But with 'Interiors', Allen's attempt to steer his career and his style to a new direction and maybe become a more 'respected' dramatic director in the eyes of critics came to its fruitful conclusion. There is a distinct presence of stark austerity in 'Interiors' which is not something that can be found in the Allen films preceding this one.Now Allen himself has mentioned Eugene O'Neill as an influence in the process of writing the story and the creation of the characters for 'Interiors' and most certainly that connection can be made in the way the film tragically explores disillusioned characters grappling with depression, but from a cinematic and visual standpoint, one can't help but notice the heavy influence of Ingmar Bergman and his chamber piece dramas. Bergman's influence on Woody Allen is common knowledge. There are umpteen comedic references to Bergman films in his own films including his own version of the 'Dance of Death' in 'Love and Death'. The existential Bergman-esque themes of silence of God, meaning of life are things that Allen has also always been interested in.In 'Interiors', as the name foreshadows, Allen stages 95% of the scenes in the confines of the rooms of the characters' homes. The Bergman-esque technique found in films like 'Autumn Sonata' or 'Cries and Whispers' of allowing the suffocating confines of the interiors to gradually propel the repressed inner struggles of the involved characters to the surface inevitably leading to an emotional explosion is used by Allen in this film. However I don't think 'Interiors' is just an example of Allen mimicking Bergman. He manages to create a unique cinematic vibe by internalising the austerity of Bergman and blending them with his own sensibilities by creating characters that feel very much like the New York upper class intellectual individuals that many of his films have explored. We are introduced to a somewhat dysfunctional family whose lives get permanently shaken when the father/patriarch,Arthur decides to opt for a separation from his marriage which also makes the mentally unstable matriarch, Eve fall further into a state of untenable depression. Allen explores the fragility of the New York elite- class. Can some of the character problems that are tackled here be labeled as First World Problems? Most Certainly. But in the hands of a perceptive director/writer, the petty sibling rivalries and personal existential crises seem very relateable, understandable and intriguing.There is a distinct element of inclusiveness in terms of characters that can be found in the screenplay. Allen consciously makes an effort to give us a comprehensive idea of the personal struggles that every character of this family is dealing with and which they might be hiding from the others and for the most part this works to the benefit of the film as this approach makes every character unique and lifelike. However, I also think this inclusiveness ends up being detrimental to the film in the overall context. This is because in trying to juggle with the sensibilities of so many characters, the film in the end somewhat forgets, abandons and leaves by the wayside, some of the issues in the lives of these characters which were raised and given importance to previously in the narrative,leading to a sense of incompleteness due to lack of closure.The camera doesn't do anything extra-ordinary except for one or two extended sideways tracking shots because Allen deliberately allows the scenes and the dialogue to flow. Instead Allen uses some deliberate editing choices to elevate and intensify the impact of a number of scenes. He knows exactly when to cut to which face and capture a particular reaction or when to hold a shot to raise the tension. The sound mixing becomes integral in the later portions of the film.The tone of acting set by Allen is very naturalistic and realistic. Every character for the most part seems believable. However I have to give special mention to Geraldine Page, Diane Keaton and Mary Beth Hurt. They each give performances of subtlety and depth. All three work together and elevate every scene that they are a part of.To conclude, I'll say that Ingmar Bergman's influence is heavily identifiable in 'Interiors', however it is unfair to call this a mere act of mimicry as some critics have done. It doesn't completely achieve greatness due to the sudden abandonment of seemingly important character issues towards the end of the film, but it certainly does come close to achieving greatness due to immensely mature storytelling and the skillful interplay between really complicated characters. Recommended.

SnoopyStyle Corporate attorney Arthur (E. G. Marshall) wants to separate from his wife Eve (Geraldine Page). They have three children as the news hit the family members differently. Eve was an interior decorator who supported her husband's early career. However her state deteriorates and the separation puts her over the edge. Joey (Mary Beth Hurt) is with her boyfriend Mike (Sam Waterston) and struggles for a direction. Successful poet Renata (Diane Keaton) is struggling at her work and her marriage to Frederick. Flyn (Kristin Griffith) is the absentee daughter with a B-movie career. The three sisters clash and their father returns from Greece with new girlfriend Pearl (Maureen Stapleton).Woody Allen is doing Ingmar Bergman in an artistic family drama. It is quiet with little or no music. It's considered his first major drama. There are nice performances as each character shows his/her damaged interiors. It's an interesting exercise that Woody Allen is doing but it would be better if he finds his own voice rather than copying somebody else's. The muted tones keep the movie from truly exploding. It is still compelling to watch.

ladymidath I watched Interiors years ago and the impression that it left me was one of a bleakly brilliant film. I managed to watch it again and found that my love of this film has not diminished at all.Woody Allen is an admirer of Ingmar Bergman and in Interiors it show. This is his homage to Bergman and a fine homage it is.Allen is better known for his comedies such as the excellent Annie Hall and What's New Pussycat. Interiors is a change of pace for him. Restrained, serious and at times quite dark, this is a film for people who want depth in their films.Three sister, all who have problems of their own are suddenly having to deal with their parents divorce. E.G. Marshall as Arthur, their father and Geraldine Page as their mother Eve, a cold repressed and mentally unstable woman.The sisters have to face the fact that not only are their parents divorce final but their father has met another woman Maureen Stapleton as the fun loving Pearl.The eldest daughter, Diane Keaton as Renata the middle daughter, Mary Beth Hurt as Joey and the youngest daughter, Kristin Griffith as Flyn all deal with it in their own ways. Renata is a successful writer married to a one hit writer, Sam Waterston as Mike.Joey is trying to find a creative outlet but she is not as talented as her older sister and Flyn is an actress in second rate TV shows and movies.Joey is the one who ends up having to care for her mentally ill mother and is filled with frustration and resentment. Flyn is rarely around and Renata is the one who has to cope with the backlash of all of it.Then things reach a crisis point when their father remarries a cheerful and likable woman who the daughters do not approve of and refer to her as a vulgarian.This is the perfect study of a family who despite being wealthy well educated people, are dysfunctional and in their various ways, selfish and at times rather petty. These people are not always likable, except for Pearl. But there are times when the viewer can feel sympathy for them.I don't understand why this film garnered so many negative reviews. I know that this is not the usual Woody Allen fare, but this film is intelligent and thoughtful. A quiet piece, beautifully shot and acted, it deserves a place in history as a true classic.