Maybe it’s the neurotic persona or the whiny delivery, but let’s face it: Woody’s shtick is always the same. Still, Manhattan is intermittently funny, and there are many things that stay with you: The beautiful black-and-white cinematography by Gordon Willis; the opening montage to George Gershwin’s Rhapsody in Blue; an affecting performance by Hemingway as the passing fling of a selfish pseudo-intellectual who realizes, too late, he’s actually in love with her. Is Manhattan Woody’s finest hour? I don’t know. But it is memorable.