November 27, 2018
What is Woody Allen’s best movie? That is a tough question to answer as it involves a subjective judgement, and he has made so many movies to choose from. Did you prefer one of his early funnies, such as Love and Death, Sleeper or Bananas? Was Manhattan the most refined Allen film? Perhaps a warm crowd-pleaser such as Hannah and Her Sisters is more to your tastes? Or a more eclectic choice – Zelig or A Midsummer Night’s Sex Comedy?
Woody Allen（伍迪艾伦）最好的电影是哪一部？由于涉及到个人口味，而且他的片子实在太多了，这个问题真的很难回答。也许你更喜欢他早期的那些喜剧？比如 Love and Death《爱与死》，Sleeper or Bananas《傻瓜大闹科学城》。Manhattan《曼哈顿》是伍迪艾伦最精致的电影吗？或者 Hannah and Her Sisters《汉娜姐妹》这样的大众片子更符合你的口味？还是选个折衷一点的，比如 Zelig 《西力传》，A Midsummer Night’s Sex Comedy《仲夏夜性喜剧》这样的电影？
There is no agreement about Allen’s best movie, but it is probably less controversial to say that Annie Hall is his most important film. Indeed many would think Annie Hall is his best as well. It is certainly his most popular. A number of scenes are fondly remembered – Allen chasing escaped lobsters around his kitchen, or blowing away an expensive purchase of cocaine with an ill-timed sneeze.
While Allen was disappointed with the film, thinking that it did not turn out as he had hoped, the public thought otherwise Annie Hall was his most fourth most successful film at the box office, and secured Oscars for Best Picture, Best Actress, Best Director and Best Screenplay. It was also the only film where Allen’s acting secured an Oscar nomination.
伍迪艾伦对 Annie Hall 其实并不是很满意，他认为这部电影并没有完全展现出他希望表达的东西。大众则认为这是他第四卖座的电影，而且这部电影还获得了奥斯卡最佳影片、最佳女演员、最佳导演和最佳剧本奖。同时，这也是唯一一部伍迪艾伦作为演员获得奥斯卡提名的片子。
伍迪艾伦凭借 Annie Hall 获得「第 50 届奥斯卡金像奖最佳男主角提名」
伍迪艾伦是好莱坞各大奖项的常客，曾 23 次获得奥斯卡提名，3 次获得编剧奖。
The importance of Annie Hall lies in its pivotal role in Allen’s directing and writing career. This was the turning point where he moved from making films that were pure comedies to producing cinema that sacrificed some of the humour, and had a more serious intent, and greater artistry. This is not to say that Annie Hall is not a very funny movie. It is. However Allen was aiming for something more than making audiences feel good.
Annie Hall 在伍迪艾伦的导演和写作生涯里起着关键作用。这部电影是伍迪艾伦从纯粹的喜剧到制作电影的一个转折，它牺牲了一些幽默，有一个更严肃的创作意图，也更具艺术性。不过这并不是说安妮霍尔就不够有趣了，只是伍迪艾伦并不想仅仅止步于取悦观众。
The shift began before Annie Hall. Love and Death was a comedy, but it dwelled on death, and had a comically downbeat tone. Play It Again Sam was Allen’s first attempt at a comedy that was purely about relationships, and not dealing in criminals, banana republics, future dystopias or nineteenth-century Russians. However it was still essentially a sad-funny movie, whereas Annie Hall was a deeper affair – the work of a 40-year-old man who was already preoccupied with death, and who had not settled into a permanent romantic relationship.
这种转折是在 Annie Hall 之前开始的。Love and Death（爱与死）虽然也是一部喜剧，但它的主题是「死亡」，而且带着一种滑稽的悲观基调。 Play It Again Sam《呆头鹅》是伍迪艾伦第一次尝试以纯粹的人际关系为主题的喜剧，没有涉及罪犯，没有香蕉共和国，没有未来世界的反乌托邦也没有 19 世纪的俄罗斯人。不过从女主 Annie Hall 和一个 40 岁，已经全神贯注于死亡，直到现在都还没能够维护一段持续的亲密关系的男人热恋这一点来看，安妮霍尔仍然是一部伤感而有趣的电影。
这几个主题都是伍迪艾伦之前的片子里的元素。香蕉共和国出自 Bananas，未来的反乌托邦出自 Shadows and Fog，19 世纪的俄罗斯人则出自 Love And Death。
This is reflected in the intellectual framework of the movie. While Allen’s earlier movies also throw out an impressive array of cultural references, Annie Hall positively makes a display of Allen’s learning. The film throws in references to Freud, Wagner, Sylvia Plath, Fellini, Balzac and others with a gleeful relish.
这也反映在电影的智识框架中。伍迪艾伦早期的电影也提供了一系列令人印象深刻的文化参考，Annie Hall 则更积极地展示了他的学识。这部电影充满了对 Freud（弗洛伊德）, Wagner（瓦格纳）, Sylvia Plath（西尔维娅·普拉斯）, Fellini（费里尼）, Balzac（巴尔扎克）和其他一些人的热情。
西格蒙德·佛洛伊德（德語：Sigmund Freud，出生名：Sigismund Schlomo Freud，1856年5月6日－1939年9月23日），奥地利心理學家、精神分析學家、哲學家，犹太人。
威廉·理查德·瓦格纳（德語：Wilhelm Richard Wagner，1813年5月22日－1883年2月13日），德国作曲家、劇作家，以其歌劇聞名。
伍迪艾伦说过：“I just can't listen to any more Wagner, you know…I'm starting to get the urge to conquer Poland.”
奥诺雷·德·巴尔扎克（法语：Honoré de Balzac，1799年5月20日－1850年8月18日），原名奥诺雷·巴尔扎克（Honoré Balzac），法国19世纪著名作家，法国现实主义文学成就最高者之一。
There is no attempt to dumb down for the viewer’s sake, and Allen is happy to make a movie where conversation matters more than action. The average camera shot in the film is 14.5 seconds, quite long for the 1970s, and a very different style from the constant jump-cutting of films made today. Indeed there is so enough content in Annie Hall to fill several movies, but here it is all rolled into one. This is the work of a moviemaker brimming with ideas.
没有迎合观众的打算，伍迪艾伦很乐意拍一部台词比行动占更大比重的电影。这部电影的镜头平均时长达到了 14.5 s，对于 20 世纪 70 年代来说，这可是相当长了。和现在电影里的接连不断的跳切相比，更是非常不同的风格。Annie Hall 丰富到足以填满几部电影的内容被整合进一部电影。这是一个充满创意的制作人的作品。
Annie Hall is unashamedly elitist. Allen’s hero Alvy Singer (played by himself) expresses his distaste for men who talk like gangsters while he waits in a cinema queue. He deplores the bad taste of another man whose ideas about art are different from his own. Other occasions that cause Alvy to turn his nose up in disgust are meeting a vulgar, unfunny man who wants Alvy to write his jokes, and seeing television comedies being made with a laughter track.
Annie Hall 显然属于精英主义。男主角 Alvy Singer（由伍迪艾伦自己扮演）在电影院排队等候时表达了他对一个讲话不客气的男子的厌恶。对于持以不同艺术观点的人，他表示对他们的坏品味感到遗憾。还有一些场合也会让 Alvy 皱眉，比如遇到一个粗俗、不拘礼节的人想让 Alvy 写他的笑话，以及观看用上了笑声音轨的喜剧节目。
laughter track 笑声音轨。喜剧节目里那些提前录好的笑声。
Even the neuroses of Alvy and Annie are somehow seen as evidence of their higher intelligence. In one scene, Alvy asks a young couple why they are happy together, and the woman replies: “I’m very shallow and empty and I have no ideas and nothing interesting to say”, a point endorsed by her partner. To be unhappy is somehow a privilege extended to the intellectuals.
就连 Alvy 和 Annie 的神经质都在某种程度上被视为他们高智商的证据。在一个场景里，Alvy 询问一对年轻的夫妇为什么他们在一起那么快乐，然后那位女士回复说，「我很浅薄，空洞，没有自己的想法，也说不出什么有趣的东西。」她的男性伴侣也对此表示认同。在某种程度上，不快乐其实是知识分子的特权。
Despite this display of erudition there is a suggestion that for all their cleverness the characters in Annie Hall have become removed from genuine understanding of their feelings and needs. Emotions have become intellectualised, therapized and distanced from their true meaning. Alvy talks about his maturity in getting back together with Annie, but he says the same when he breaks up with her, and in neither case is his maturity evident.
虽然电影展示了人物的博学，但也有观点表示，虽然电影里的人物都很聪明，但他们对自己的情感和需求已经失去了自己的理解。情绪被理智和药物控制，失去了真正的意义。Alvy 在和 Annie 复合时谈到了自己的成熟，但是当他和 Annie 分手时又说了同样的话。其实在这两种情况下，Alvy 的成熟都没展现得有多明显。
It seems to be a general malaise in society, as witnessed by the behaviour of Alvy’s friend Rob (Tony Roberts) who boasts of his sex life and goes to eccentric lengths to keep himself from looking old. The warm, vibrant world of Alvy’s New York stands in contrast to the shallow decadence of Rob’s California. There is also the example of Annie’s brother who tells Alvy that he sometimes thinks about driving headlong into the headlights of another car. This makes for an uncomfortable car ride for Alvy later.
这似乎是社会上普遍存在着的一种不安，就像 Alvy 的朋友 Rob（Tony Roberts 饰）对自己的性生活吹嘘不已，常做些古怪的事[不择手段]让自己看起来没那么老。Alvy 所处的 New Yrok 温暖、充满活力，与 Rob 浅薄颓废的 California 形成鲜明的对比。还有一个例子，Annie 的哥哥告诉 Alvy，说他有时候开车会想着一头撞上其他车的前灯。这让 Alvy 之后的汽车之旅很不舒服。
However the more important focus of the film is that on Alvy and his on-off girlfriend, Annie Hall (Diane Keaton). Alvy introduces himself to us at the beginning by way of two jokes. Here is the first one:
不过影片的重心聚焦在 Alvy 和他分分合合的女友 Annie Hall（Diane Keaton 黛安·基顿饰）身上。在影片的开头，Alvy 用了两个笑话向观众做自我介绍。下面是第一个：
Two elderly women are at a Catskills mountain resort, and one of ’em says: “Boy, the food at this place is really terrible.” The other one says, “Yeah, I know, and such small portions.” Well, that’s essentially how I feel about life. Full of loneliness and misery and suffering and unhappiness, and it’s all over much too quickly.
有两位老妇人在 Catskills mountain（卡茨基尔山）度假，其中一个说：「哎，这地方的食物可真够糟的。」另一个说：「可不是嘛，给的份量还那么少。」你瞧，我对生活的看法基本上也是如此：尽管充满了寂寞、痛苦、悲惨和不幸，但又觉得一切都逝去得太快。
This establishes the essence of Alvy’s character. As Annie tells him later, he is incapable of enjoying life. We see Alvy as a child (still sporting large glasses) and refusing to do his homework because he is depressed that the universe will end one day. He is the figure that we have come to know from many Allen films – the pill-popping neurotic who spends his life in therapy without gaining any obvious benefit from it.
这奠定了 Alvy 性格的基础。Annie 后来告诉他，他无法享受生活。我们可以在电影里看到，当 Alvy 还是个孩子时（仍然戴着大眼镜），他拒绝做家庭作业，因为他对宇宙终有一天会终结感到沮丧。他就是我们从众多伍迪艾伦的电影里了解到的那个人物－一位依赖药物，一生都在接受治疗却没有从中获得过任何好处的精神病患者。
Alvy is utterly unreasonable about the smallest matters, refusing to go into the cinema if Annie is even two minutes late for the film, irritable about being recognised on the street, and happy to re-watch The Sorry and the Pity over and over again, a depressing movie about the Holocaust.
即便是非常细枝末节的事，Alvy 也完全不讲道理。由于 Annie 的迟到，电影已经开始了两分钟，Alvy 就拒绝入场看电影；因为被别人在大街上认出来而感到恼火；乐此不疲地反复观看 The Sorry and the Pity（悲哀和怜悯，原名是 Le chagrin et la pitié）这部关于大屠杀的消极电影。
Indeed part of Alvy’s insecurities are related to his Jewish upbringing. He is amusingly paranoid about supposed allusions to his Jewishness from passers-by, much of it in his head, e.g. people who shorten ‘Did you?’ to ‘D’you?’, a homonym that he insists on hearing as ‘Jew?’ This leads to some self-consciousness in dating the WASP Annie.
事实上，Alvy 的部分不安全感与他的犹太教育有关。他有点好笑地偏执于路人对他犹太身份的「暗示」，然而这所谓的「暗示」大部分都发生在他的脑袋里。比如别人把 ‘Did you?’ 简称为 ‘D’you?’，他坚持认为别人说的是 ‘Jew?’。在和身为 WASP 的 Annie 约会时，这种偏执便导致 Alvy 产生了一些莫名其妙的念头。
self-consciousness : An unpleasant feeling of self-consciousness may occur when one realizes that one is being watched or observed, the feeling that “everyone is looking” at oneself.
In one scene, Alvy has dinner with Annie’s frigid family, and is uncomfortably aware of the dirty looks that the Jew-hating ‘Grammy Hall’ is giving him. His discomposure is visually projected when we see him dressed as a rabbi in his mind’s eye. The frosty Hall family contrasts with the boisterous, warm-hearted Jewish family in which Alvy was raised, a point emphasised in a split-screen image showing how the two different families behaved at dinner.
有一个场景，Alvy 和 Annie 冷淡的家人们共进晚餐，Alvy 不安地意识到 Annie 的格莱美奶奶，这个讨厌犹太人的「霍尔奶奶」（‘Grammy Hall‘）正嫌弃地看着他。然后镜头展现出他在脑海里打扮成一个犹太教经师的场景，人物的不安就从视觉上让观众体会到了。伍迪艾伦通过使用分屏的手法展现两个不同的家庭在晚餐时的表现，以鲜明的对比强调了冷淡的 Annie 一家和 Alvy 成长的热闹犹太家庭之间的差异。
The second of the jokes that Alvy tells at the beginning of the movie runs as follows:
The other important joke for me is one that’s usually attributed to Groucho Marx, but I think it appears originally in Freud’s wit and its relation to the unconscious. And it goes like this-I’m paraphrasing: “I would never wanna 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.
《诙谐及其与无意识的关系》：弗洛伊德对笑话和幽默进行精神分析论述的德文书籍（原标题为 Der Witz und seine Beziehung zum Unbewußten），初版于 1905 年，1960 年被翻 译成英文。
How does someone with as many hang-ups as Alvy relate to women? And what kind of women? Women who have just as many problems as he does, of course. Enter Annie Hall, a young woman that Alvy meets while playing tennis. With her clumsy apologetic manner, her quaint phrases (‘La-de-da’ is the one we most remember), and her outlandish dress sense, Annie provides the seemingly perfect match for Alvy.
像 Alvy 这样充满问题的人会和女性有什么关系？和什么样的女性呢？当然了，和他一样有很多问题的女性。Alvy 在打网球时遇到了一个年轻女性，Annie Hall。Annie 她那笨拙的道歉方式，有趣的台词（“la-de-da” 是我们记忆最深的一句），还有奇特的穿着风格，和 Alvy 简直是天生一对。
Alvy gives us a quick insight into his previous marriages – his first wife whom he spent his time discussing assassination conspiracy theories about John F Kennedy in order to avoid having sex with her, and a second marriage where he used sex as a form of hostility against his wife’s high class friends.
However it is clear that Annie is the real love of his life, the one he most misses, as we glimpse when we see a montage at the end of the film showing them in happier times. Unhappily Alvy is the man who does not wish to be part of a club that wants him as a member. He is unable to accept love without sabotaging it. Hence his relationship with Annie is doomed to fail. We are told this at the beginning of the movie, so I am not offering any spoilers here.
然而，就像在电影结尾的那段蒙太奇里展示的欢乐时光一样，很显然 Annie 才是他一生中的真爱，也是他最怀念的一任女友。不幸的是，Alvy 不想加入会员都是他这种人的俱乐部。他不能接受爱而不破坏它，因此他和 Annie 的关系是注定要失败的。这一点在电影开头就说了，所以我这并不算剧透哈。
Yet the relationship between Alvy and Annie starts so well that there is no obvious reason why it should fail. He is attracted by her ditsy charm and individuality, and she is drawn by his wit and intellect. He encourages her to grow as a person, educating her in his own tastes, supporting her attempts to become a singer, and pushing her to take classes.
Alvy 和 Annie 之间的关系开始得太顺畅了，以至于找不到一个明显的，能解释他们为何分开的理由。他被她的粗心与个性所吸引，她则着迷于他的风趣和才智。他鼓励她作为一个个体去成长，用自己的品味教育她，支持她想做一名歌手的尝试，并说服她去上课。
The relationship soon sours though, as Alvy drives her away with his complexes, suspicions and intolerance. She is expected to pay constant attention to his feelings while he dismisses her moods by asking if she is on her period. He becomes hostile to the college courses that he pressured her to take, fearing she is having an affair.
随着 Alvy 用他不正常的精神状态、猜疑和偏狭去驱赶 Annie，这段关系很快就恶化了。当他通过询问 Annie 是否在经期来驱散她的坏情绪时，也在期待她能持续关注他的感受。明明是他鼓励 Annie 去修读大学的课程的，现在 Alvy 却因为担心她会外遇，对上课这件事产生了敌意。
A number of Woody Allen’s female characters follow a progression whereby he helps them to improve and develop, but fears the day when they will outgrow him and move on. Other examples can be found in Manhattan, Hannah and Her Sisters and Deconstructing Harry. There is possibly something a little patronising in the notion that women need a man to assist their intellectual growth, but it is a regular theme in his work.
伍迪艾伦塑造了许多不断成长的女性角色。他帮助她们发展提高，又担心有一天她们会超越他，继续前进。比如在这些电影里，Manhattan（曼哈顿）、Hannah and Her Sisters（汉娜姐妹）、Deconstructing Harry（解构爱情狂）。女性需要一个男人来帮助她们成长，这种观点可能有点太自恋了。但在伍迪艾伦的电影里，这是一个固定的主题。
How far is Annie Hall autobiographical? Allen is always quick to distance himself from his fictional personae, and yet they seem surprisingly consistent in their personalities. While Allen’s protagonists are not exactly Allen himself, he clearly draws on a lot of his own characteristics and experiences, distorted and exaggerated, to produce his heroes.
Annie Hall 多大程度上算是伍迪艾伦的自传作品？伍迪艾伦总是迅速地将自己和他作品里的人物撇清关系，然而他们的性格总是惊人地相似。虽然他作品里的主角不完全是按他自己来塑造的，但是毫无疑问，他把自己的性格和经历经过夸张，扭曲后糅入了角色。
Consider this. Alvy is a comic writer. His name sounds like Allen’s name. Some of the events in Alvy’s childhood happened to Allen too. Then there is the unsuccessful relationship with Diane Keaton, whose real first name was Hall. Annie Hall, Diane Hall – there is only a slight rejigging of her first name. Indeed Keaton suggested that the personality of Annie Hall was an affable version of herself.
想想看，Alvy 是一个喜剧作家，他的名字听起来和 Allen（艾伦）很相似，Alvy 童年时的一些事儿也发生在伍迪艾伦身上。然后是伍迪艾伦和 Diane Keaton（黛安·基顿）间并不成功的关系，而且黛安·基顿的真名也叫作 Hall（霍尔）。事实上，黛安·基顿的确表明了 Annie Hall 就是一个和蔼版本的她自己。
The chaotic and unstructured thinking and lives of the two central characters is reflected in the freeform, non-linear structure of Annie Hall. It is a technique that gives Allen liberty to show us anything that he wants, and to break the rules of naturalistic storytelling. Annie Hall’s composition was of such a loose nature that Allen was able to edit 50 minutes out of the final production without us feeling the loss.
Annie Hall 这部电影自由、非线性的结构正体现了影片中两个中心人物混乱，无组织的思维和生活。在这种技巧下，伍迪艾伦得以打破传统的叙事方式，自由地向我们传递他想要表达的任何东西。Annie Hall 的结构如此松散，以至于我们完全感觉不到现在看到的版本其实在第一个版本上剪去了 50 分钟。
PS：第一个版本有 140 分钟。
One effect of this is that Allen frequently shows us the artifice of his narrative, and yet the characters are so firmly based in our minds that we never feel too removed from their angst and concerns. This is because each breaking of the rules only serves to reinforce our knowledge and understanding of Alvy and Annie.
这种结构下，即便伍迪艾伦频繁地展现他的叙事技巧，角色的形象仍然牢固地竖立在我们脑海里，观众似乎在切身感受角色们的焦虑与担忧。每次脱离传统的叙事手段，都加强了我们对 Alvy 和 Annie 的认识和理解。
Sometimes these methods are used to show us the mismatch between Alvy and Annie. On the day that they meet Annie invites Alvy back to her house. The two of them have an animated discussion about art while subtitles appear on the bottom of the screen showing us what they are really thinking about – fear of looking pretentious or stupid, and of course sex.
有时候，这些手段被用于展现 Alvy 和 Annie 的不契合。他们相遇的那天，Annie 邀请 Alvy 去她家。他俩看似颇有兴致地讨论着艺术，屏幕底部的字幕却向观众们展现了他们真正在考虑的东西－担心失态、被当作笨蛋，以及一些与性相关的东西。
In another scene Alvy is preparing to have sex with Annie. She denies that she is distracted, but we see a ghostly Annie rise out of her body and sit in a chair. Annie’s spirit even addresses the increasingly irritated Alvy: “Alvy, do you remember where I put my drawing pad? Because while you two are doing that, I think I’m gonna do some drawing.”
在另一个场景里，Alvy 想要和 Annie 做爱。Annie 否认自己分心了，但是我们看到的却是，Annie 的灵魂脱离了身体，坐在椅子上。Annie 的灵魂甚至对着越来越恼火的 Alvy 说道，「Alvy，你知道我把画板放哪儿了吗？我想我可以趁着你们干这事时画上两笔。」
On another occasion we see them sat together on a plane while we hear a voiceover of their thoughts, showing how differently they interpret the same experiences. A similar dissonance can be found in a split-screen shot of Alvy and Annie talking to their therapists, showing us the gulf in the way that they think. (Incidentally this was not a real split-screen. They were in the same room together, but the camera shot creates the illusion of a split-screen.)
还有一个场景，我们看到他们一起乘坐飞机，同时，他们的想法通过画外音的形式传递出来，展示了他们对相同经历的理解差异有多大。还有一次，Alvy 和 Annie 和他们的心理医生交流时，伍迪艾伦通过一个分屏镜头也向我们展示了类似的不和谐，以及思维方式间的巨大鸿沟。（顺便提一下，这里并不是真正的分屏。他们俩在一间屋子里，然后通过镜头调度制造了一种分屏的错觉。）
While some of the flashbacks take the usual form seen in movies, others are deliberately unreal. Annie literally takes Alvy on a journey to see her younger self with her former boyfriends. Alvy gets to listen in on their conversations and provide a running commentary. Later Alvy returns the favour by taking Annie and Rob to see him as a boy with his family. The illusion that we are seeing an actual event is further dispelled when Rob asks questions of the family members and receives answers.
虽然电影制作里经常使用闪回，但许多都显得非常刻意。在 Annie Hall 这部电影里，Annie 则真的带着 Alvy 去看她年轻时和前男友们相处的情形。Alvy 倾听他们的谈话并不断地评论。作为回报，Alvy 则带着 Annie 和 Rob 回到了他家去看他小时候的样子。当 Rob 向 Alvy 的家人提问并得到回答时，这一切都在真实发生着的错觉就烟消云散了。
The fourth wall is constantly broken as characters address the screen. Allen does so at the beginning of the film, though it is unclear whom he is addressing. His therapist? A camera crew? Us? In another scene he approaches the camera to express his irritation with a loud and opinionated man whose views on art differ from Alvy’s own.
因为电影里的角色们都在讲话，第四面墙经常被打破。比如电影刚开始时，我们不知道 Alvy 到底在和谁讲话。也许是心理医生、也许是摄影组、又或者也可能是我们。在另一个场景里，Alvy 靠近，面向镜头，向一个声音洪亮、固执己见、和他有着不同艺术看法的人表达愤怒。
Not only Alvy, but the man he is criticising comes forward to defend his views. In response Alvy produces Marshall McLuhan (one of the figures the man has been pontificating about, and McLuhan angrily telling the man that he has completely misunderstood McLuhan’s work. Of course this does not really happen. Alvy concludes the scene by wistfully saying to the camera: “Boy, if life were only like this”.
不仅仅是 Alvy，Alvy 批评的这个男人也站了出来维护自己的观点。作为回应，Alvy 从海报后请出了 Marshall McLuhan（马歇尔·麦克卢汉）。（Alvy 批评的这个男人一直在对麦克卢汉发表高论，麦克卢汉愤怒地告诉这个人，他完全误解了麦克卢汉的作品。）当然，这没有真实发生。最后 Alvy 对着镜头若有所思地说道，「哎，如果生活都像这样的话！」
Fantasy creeps in other occasions when we see a Disney-style cartoon of Alvy and Annie, and actors offering a re-enactment of Alvy and Annie’s last meeting from a script written by Alvy. Only this time there is a happy reunion. “Tsch, whatta you want?” Alvy asks us; “You know how you’re always tryin’ t’ get things to come out perfect in art because it’s real difficult in life.”
幻想还发生在其他场景里，比如 Alvy 和 Annie 迪士尼风格的卡通形象，演员们根据 Alvy 的剧本演出 Alvy 和 Annie 最后一次会面的场景。与现实不同，剧本里有着一个美满的团聚。『啧，你想怎样？』Alvy 询问我们，『你知道，人们总是试图通过艺术来表达完美结局，毕竟这在现实生活真的很难发生。』
Even supporting characters break out of their assigned place to talk to us. When Alvy shows us a scene of him as a sex-mad schoolboy, he ponders on what his classmates are doing now. Several children respond by addressing the camera in order to tell us where they work, and provide other unnecessary details about their future adult lives, such as a heroin addiction or a fetish for leather. Similarly Alvy can address random people in the street, and they answer his questions readily and without surprise, though some of their answers are distinctly odd: “We use a large vibrating egg,” says one man.
即使是配角也会脱离他们的位置来和我们交谈。在 Alvy 给我们展示他学生时代对性发狂的那个场景里，Alvy 思考着他的同学们现在都在做什么。有几个孩子就对着镜头告诉我们现在他们在哪工作，还谈了一些他们在未来的成人生活里一些没啥必要的细节，例如对海洛因上瘾，迷恋皮革。同样，Alvy 可以在街上随便找个人讲话，而且别人还淡定地回复了，虽然有些人的回答很奇怪。一个人就这么说，『我们用一个大振动蛋。』
I'm into leather.
It might be thought that Annie Hall is offering a pessimistic view of relationships, and saying that eventually the magic goes and they are doomed to fail. In a way it is, and yet the film is also an assertion in favour of love and togetherness. Even Alvy, the man who drives away the women he loves, concludes with an insistence on the need for love and intimacy:
有人可能会觉得 Annie Hall 对人际关系持以悲观态度，最终魔法失效了，他们之间的关系也随之破裂。在某种程度上确实如此，但其实这部电影也主张爱和亲密关系。即便是 Alvy，这个把所爱之人赶走的家伙，也强调了爱和亲密关系的重要性：
I realized what a terrific person (Annie) was, and how much fun it was just knowing her and I thought of that old joke. This guy goes to a psychiatrist and says, “Doc, my brother’s crazy. He thinks he’s a chicken.” And the doctor says, “Well, why don’t you turn him in?” And the guy says, “I would, but I need the eggs.” Well, I guess that’s pretty much how I felt about relationships. They’re totally irrational and crazy and absurd, but we keep goin’ through it because most of us need the eggs.
我意识到她（Annie）是一个多么好的人，能认识她就是一件多么有趣的事。我想起了那个老笑话，有个家伙去看精神病医生，他说：“大夫，我兄弟疯了，他以为他自己是一只鸡。”然后医生说： “那你怎么不把他带来？”那家伙说：“我是想带他来着， 可是我需要鸡蛋啊。”你看，我想这就是现在我对男女之间关系的感觉。它是完全非理性的、疯狂的、甚至荒谬的，但是我们还一直要经历这一切，因为我们大多数人都需要鸡蛋。