The cinematic depiction of the high and low notes of a romantic concerto

• As typically Allen, the seamless sequences of the movie. The editing and scenes elevate the storytelling like an escalator and not stairs.

• The VW driven at breakneck speed with Annie (Diane Keaton) at the helm, symbolising the stormy relationship, while Mozart’s Jupiter symphony playing in the background, symbolic of the burning passion.

• Ridley Scott’s amazing storytelling of a dystopian future. The dark ambience throughout and people living in stark isolation with technology as his main company, was a more realistic depiction of the future than the main theme of clones (replicants) and advanced genetic science.
• Harrison Ford, as a disenchanted police officer, more precisely, a blade runner. The pacing of the film and Harrison Ford’s eventual liking for the clone Rachael (Sean Young) was built up brilliantly, with a fine performance from Ford.

• The treatment of the film, some of which include the brisk dialogues, the sharp editing, the first person narration scenes, and last but not the least, the perfectly blended background music,makes Goodfellas a near perfect directorial effort.

• The realism infused in the movie, such as the realistic interactions between the gangster brood, the grand scale of the sets (The prison sequence, the the roads and traffic of the 60′s, and most importantly, the frequently visited bars and pubs)

• The marvelous background score ‘Rhapsody in Blue’ by Gershwin. The music was an indispensable part of the whole movie and sort of structuralized the essence of the movie.

• The suave acting by Diane Keaton which eventually won her the Academy Award. It seemed Keaton and her portrayal of a progressive female intellectual who’s dizzied up by the Manhattan skyscrapers and culture was fantastic. Her famous quote which highlighted that disconnect Keaton had with the Manhattan wavelength “I’m from Philadelphia, and we believe in God”