Top 10 Female Performances in Woody Allen Movies

Yesterday, I listed my favorite male performances from Woody Allen’s films, and today I have the much harder task of ranking the superb female roles from Allen’s films. Will Cate Blanchett’s recent work make the cut here once I’ve seen Blue Jasmine? I certainly hope so. But for now, here are the finest female offerings from the world of Woody Allen.

10. Charlotte Rampling - Stardust Memories (1980)

as Dorrie

Rampling’s brief but flawless work as Dorrie is encapsulated in a 90 second scene in which she tearfully breaks down in front of the camera. Imploring extreme close-up, sharp jump cutting, and a broken fourth wall, this moment is Rampling’s tranquil poem with the audience. It’s as captivating and bold as anything Allen has put on screen. Equally haunting and beautiful.

9. Mariel Hemingway – Manhattan (1979)

as Tracy

Casting an actual teenager to play a teenager on screen can go one of two ways. On the bitter end, you have the cast of Twilight, who are identical in age to their characters, but all appear too jaded and unconfident to effectively play them. The flip side is Mariel Hemingway in Manhattan, who delivers a nuanced performance of teenage desperation. Hemingway was only 16 when Manhattan was filmed, but the amount of complex emotion she puts into Tracy equates to that of a seasoned pro. In short, despite her age, Hemingway hit all the right notes as Tracy, and I’m still very pleased that the Academy took notice of this.

8. Geraldine Page – Interiors (1978)

as Eve

What a slow-burning little hellion Page’s Eve is. Plagued by an artistic talent that she feels is misunderstood, Eve is demanding of those who love her, while growing increasingly mentally unbalanced. Page is so in command of this character, that she can make something like a gentle breakdown in a church utterly mortify to watch unfold. This performance never fails to rock me.

7. Samantha Morton – Sweet and Lowdown (1999)

as Hattie

Dear, sweet, Hattie. As a timid, mute sweetheart who falls in love with a compulsive and rude musician (Sean Penn), Hattie is the type of character we want to shake loose of optimism. We want to grab her and kindly say, “No, dear, this man is not for you. He will only bring trouble.” But instead we watch. We watch this very skilled actress go through the motions of calm desperation and eventual longing. Samantha Morton was a relatively new actress when Sweet and Lowdown was released, and her work as Hattie put her on the map in the best possible way.

6. Mia Farrow – Broadway Danny Rose (1984)

as Tina Vitale

I’m not sure whose idea it was for Mia Farrow to play Tina Vitale the way she did, but regardless, the actress deserves ceaseless praise for her audacity at bringing Tina to life. As Tina, Farrow plays a loose dame that constantly sports big hair, large sunglasses, and an amusingly thick New Yawk accent. It’s the kind of hyperbolic performance that could easily turn into a joke. But with Farrow behind the mask, it’s impossible not to be utterly drawn in. One of the most hilariously delicious characters Allen ever created.

5b. Dianne Wiest – Hannah and Her Sisters (1986)

as Holly

Similarly to how I split two of Woody Allen’s own performances yesterday, I find it impossible to choose which Oscar-winning Dianne Wiest character I like more. First up, we have Holly, an ex cocaine addict who takes her lack of artistic ability out on the people who care for her most. There’s so much resentment cooped up in Wiest’s petite incarnation of Holly. So much rage and anguish. Holly demands to be the center of attention, but when the spotlight’s on her, she realizes she has nothing worthwhile to say. A truly fascinating performance.

5a. Dianne Wiest – Bullets Over Broadway (1994)

as Helen Sinclair

Equally as fascinating is Wiest’s depiction of stage diva Helen Sinclair in Bullets Over Broadway. Helen knows how to get what she wants. She’s smooth with some people, and swiftly crude with others. Alcohol gives her courage, angst fuels her ego. When I think of Dianne Wiest, I think of a small, kind woman who makes herself gently memorable in whatever film she’s in. Amusingly, there is certainly nothing gentle about Helen Sinclair (or Holly, for that matter). These are two against type performances that justly resulted in Oscar gold.

4. Diane Keaton – Annie Hall (1977)

as Annie Hall

For fun, I love to compare Annie and Alvy’s first meeting with their last. When they first talk, Annie is a neurotic mess, speaking in nonsensical phrases, talking down to herself, La Di Da, La Di Da. Alvy is the poised, carefree romantic, paying as much attention to his tennis bag as he is to the zany woman in front of him. The final conversation shows the tables turned – Alvy is a mess, Annie is all confidence. I mention this dynamic because, anxious or self-assured, Diane Keaton is marvelous for every second of Annie Hall. Much like Allen’s Alvy Singer, the legacy of Keaton’s Annie Hall will surely outlive us all.

3. Judy Davis – Husbands and Wives (1992)

as Sally

I’m convinced that Sally is the most domestically vile character Woody Allen ever wrote. No, she isn’t a murderer or a thief, but she is the wife from hell, personified terrifyingly by Judy Davis. When we first meet Sally, she seems like a rational and understanding woman. But as Husbands and Wives progresses, we bear witness to Sally’s wrath. Don’t get me wrong, I know Sally didn’t have the perfect husband, but the way she treats her friends and lovers is simply awful. I’m actually quite stunned that Sally has been able to maintain friendships over her years, let alone a marriage. Similarly to Sean Penn’s work in Sweet and Lowdown, it takes a real pro to make a repulsive character like Sally so enjoyable to watch. But in my opinion, Sally is Judy Davis’ finest hour.

2. Mia Farrow – The Purple Rose of Cairo (1985)

as Cecilia

Instead of describing why I think Farrow is so remarkable in The Purple Rose of Cairo, I’d like to request that my readers do something. If you haven’t seen this film, watch it. Pay attention to Farrow’s work throughout, but keep your eye out specifically for her final scene in the film. Watch it, and tell me it isn’t as good as acting gets. For those of you who have seen The Purple Rose of Cairo, watch it again anyway. I promise it will be time well spent.

1. Gena Rowlands – Another Woman (1988)

as Marion Post

Marion Post is not a nice person. She’s entitled, mean and all together unpleasant. But there’s pain behind those judgmental eyes. There’s anguish in her steady voice. Rowlands rarely lets Marion’s insecurities shine through, and that’s okay. I don’t need to love a character to love a performance. I only need to appreciate the work being done. And my God, there is much to appreciate here. The final scene of this film would be a perfect way to end one act, and begin another. But instead, Allen opts to leave it where it lies. The reflection in Rowlands’ voice and across her face never fails to move me. It’s so silently unnerving.

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Top 10 Male Performances in Woody Allen Movies