| Photos (See all 25 | slideshow) |
| Woody Allen | ... | Andrew | |
| Mia Farrow | ... | Ariel | |
| José Ferrer | ... | Leopold (as Jose Ferrer) | |
| Julie Hagerty | ... | Dulcy | |
| Tony Roberts | ... | Maxwell | |
| Mary Steenburgen | ... | Adrian | |
| Adam Redfield | ... | Student Foxx | |
| Moishe Rosenfeld | ... | Mr. Hayes | |
| Timothy Jenkins | ... | Mr. Thomson | |
| Michael Higgins | ... | Reynolds | |
| Sol Frieder | ... | Carstairs | |
| Boris Zoubok | ... | Purvis | |
| Thomas Barbour | ... | Blint | |
| Kate McGregor-Stewart | ... | Mrs. Baker | |
| rest of cast listed alphabetically: | |||
| David Copeland | ... | (uncredited) | |
| Tony Farentino | ... | (uncredited) | |
| Caitlin O'Heaney | ... | Dolores Farrar (uncredited) | |
Directed by | |||
| Woody Allen | |||
Writing credits | ||
| Woody Allen | (written by) | |
Produced by | |||
| Robert Greenhut | .... | producer | |
| Charles H. Joffe | .... | executive producer | |
| Michael Peyser | .... | associate producer | |
| Jack Rollins | .... | executive producer | |
Cinematography by | |||
| Gordon Willis | |||
Film Editing by | |||
| Susan E. Morse | |||
Casting by | |||
| Juliet Taylor | |||
Production Design by | |||
| Mel Bourne | |||
Art Direction by | |||
| Speed Hopkins | |||
Set Decoration by | |||
| Carol Joffe | |||
Costume Design by | |||
| Santo Loquasto | |||
Makeup Department | |||
| Fern Buchner | .... | makeup designer | |
| Romaine Greene | .... | hair designer | |
| Jay Cannistraci | .... | additional makeup artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Frederic B. Blankfein | .... | first assistant director (as Fredric B. Blankfein) | |
| Tony Gittelson | .... | second assistant director (as Anthony Gittelson) | |
| Thomas A. Reilly | .... | second assistant director (as Thomas Reilly) | |
| Duncan Scott | .... | dga trainee | |
Art Department | |||
| Joseph Badalucco Jr. | .... | chief set dresser | |
| Robert Bauer | .... | construction grip (as Bob Bauer) | |
| Gregory Bolton | .... | assistant art director | |
| Herb Darrell | .... | shop craftsman | |
| Glen Engels | .... | construction grip | |
| James Halligan | .... | construction grip | |
| Susan Kaufman | .... | art department coordinator | |
| James Mazzola | .... | property master | |
| Toni Ross | .... | art department coordinator | |
| Janet Shaw | .... | set dresser | |
| Cosmo Sorice | .... | stand-by scenic artist | |
| James Sorice | .... | master scenic artist | |
| Kenneth Vogt | .... | property man | |
| Anthony Zappia | .... | shop craftsman (as Tony Zappia) | |
Sound Department | |||
| Marjorie Deutsch | .... | sound editor | |
| Frank Graziadei | .... | sound recordist | |
| Jack Higgins | .... | re-recording mixer | |
| Melissa A. Higgins | .... | assistant sound editor | |
| Beriau Picard | .... | assistant sound editor | |
| James Sabat | .... | production sound mixer | |
| Louis Sabat | .... | boom man | |
| Dan Sable | .... | supervising sound editor | |
| Lynn Sable | .... | apprentice sound editor | |
Stunts | |||
| David Copeland | .... | stunt double: Mr. Allen (as J. David Copeland) | |
| Tony Farentino | .... | stunt double: Mr. Roberts | |
Camera and Electrical Department | |||
| Brian Hamill | .... | still photographer | |
| Douglas C. Hart | .... | assistant cameraman | |
| Ronald M. Lautore | .... | camera operator | |
| Dave McClean | .... | best boy | |
| Robert Paone | .... | second assistant cameraman (as Bob Paone) | |
| Jeri Sopanen | .... | cameraman: second unit | |
| Louis S. Toth Jr. | .... | dolly grip | |
| Dusty Wallace | .... | gaffer | |
| Robert Ward | .... | key grip (as Bob Ward) | |
| David J. Schweitzer | .... | special photography effects (uncredited) | |
Animation Department | |||
| Russ Mooney | .... | animator (uncredited) | |
Casting Department | |||
| Paula Herold | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Bill Christians | .... | wardrobe supervisor: men | |
| Lancey Saunders Clough | .... | wardrobe supervisor: women | |
Editorial Department | |||
| Pamela Scott Arnold | .... | assistant film editor (as Pamela S. Arnold) | |
| Richard Nord | .... | first assistant film editor | |
| Christine P. Williams | .... | apprentice film editor | |
Transportation Department | |||
| Rocco Derasmo | .... | transportation captain | |
| Patrick Hogan | .... | driver (uncredited) | |
| Bobby Marsh | .... | driver (uncredited) | |
Thanks | |||
| Elizabeth Forsling Harris | .... | the producers gratefully acknowledge the cooperation of: executive director of The New York State Office for Motion Picture and Television Development | |
| Nancy Littlefield | .... | the producers gratefully acknowledge the cooperation of: executive director of the Mayor's Office for Motion Pictures and Television | |
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| Heaven Can Wait | Peter's Friends | The Notebook | Saving Face | Something's Gotta Give |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
When I saw this film I thought it was from Allen's early period and I thought of it as a prototype Manhattan but when I checked the chronology I discovered that it belongs to his middle period and postdates both Annie Hall and Manhattan. It really is like Manhattan set in the woods of New England. As far as I can see, it is his first film with Mia Farrow and his camera is besotted with her as are all the male characters in the film. Mary Steeburgen also looks good although I can never work out whether she really can act or whether she is just having trouble with her contact lenses. The scenes of New England are beautifully shot and are ravishing to look at. I thought the element of mysticism sat uneasily with the rest of the film.
This film is said to be Allen's take on the Bergman film Three Smiles of a Summer Night although I cannot comment on this because I last saw the Bergman film 35 years ago at a student film society. Maybe the mystical element in Allen's film is lifted from Bergman. There are also obvious parallels with A Midsummer Night's Dream with the mortals swapping partners and with spirits flitting about in the woods. In keeping with the subject matter, Allen uses Mendelssohn for the incidental music rather that his usual classic jazz numbers.