"Interiors" (1978) is the first Woody Allen's attempt to create a straight drama film after the series of hilarious comedies ("Bananas", "Everything you always wanted to know about sex but were afraid to ask", "Sleeper") and one of his most famous dramedies, "Annie Hall". "Interiors" is Allen's dissection of an upper middle class family in crisis. The story is not original. Arthur (E.G. Marshall), the husband of a Long Island interior designer Eve (Geraldine Page), demanding and imperious, and father of their three grown daughters (Diane Keaton, Marybeth Hurt and Kristin Griffith), informs his wife that he wanted a trial separation. She hopes that it is temporary but soon learns that there is another woman involved, (Maureen Stapleton), twice a widow, "a vulgarian" who does not belong to the upper class but is full of life, humor, and warmth and whom Arthur wants to marry.
More than anything, this movie reminds the famous shot in Bergman's "Persona" - two faces combined in one. You are not sure which features are Liv's and which - Bibi's. With "Interiors", it is difficult to say where Bergman ends and Allen begins. I would also compare Allen's first exercise in creating a serious drama to Bergman's attempt in comedy, "All these women". Both masters tried to do something different from what they were expected by the critics and their audience and both did not achieve a success. I respect Allen's homage to Bergman's work but I think he is much more interesting when he combines drama and comedy in his films. I admire his ability to create the movies that are subtle and cruel, darker than dark and self-ironic, profound and touchingly poignant, deadly serious and incredibly funny at the same time. Not this time.
More than anything, this movie reminds the famous shot in Bergman's "Persona" - two faces combined in one. You are not sure which features are Liv's and which - Bibi's. With "Interiors", it is difficult to say where Bergman ends and Allen begins. I would also compare Allen's first exercise in creating a serious drama to Bergman's attempt in comedy, "All these women". Both masters tried to do something different from what they were expected by the critics and their audience and both did not achieve a success. I respect Allen's homage to Bergman's work but I think he is much more interesting when he combines drama and comedy in his films. I admire his ability to create the movies that are subtle and cruel, darker than dark and self-ironic, profound and touchingly poignant, deadly serious and incredibly funny at the same time. Not this time.