The beginning of the New Year is one of those moments when love-past and love-future stand back-to-back. I suppose they always do, but rarely do we so literally turn the page, see the annual number change, and acknowledge our movement across time. The advancing calendar makes our heart’s progress (or lack of progress) harder to ignore than usual.
If you had a relationship-past that is better than your present, there is a chance that the New Year will remind you of those times when there was love and enchantment in your life; when bygone people who meant everything to you also believed that you meant everything to them. The New Year in that case offers another chance, hoping to recapture what was lost or trying to achieve the thing that has been so elusive.
The subject of love — the lost and found quality of it — is at the heart of Woody Allen’s 1979 movie Manhattan; much more a romance than a comedy, for all its good humor. You may not think of Woody Allen as someone who specializes in tenderness, but Manhattan certainly does.
Mariel Hemingway plays “Tracy,” a young woman in a May-December romance. She is soon to find that her openness to love leaves her as vulnerable as if she were in surgery. Perhaps she is also too young to know that the operating theater of romance always involves the potential for heartbreak as well as the hope that finally — finally — someone will see all the good inside of us and cherish it without conditions. That their eyes will brighten on our arrival, and that even our scent on a just-worn garment will warm the frozen sea within. Love is compensation for the lacerations of living, but also the cause of those same cumulative cuts.
If the New Year’s dawn is spent in the company of someone who is constant and caring, it is easy to feel intoxicated even without champagne. But if we are alone on New Year’s Eve, the back-to-back character of the old year turning new forces us to look both ways. In one direction is the receding memory of ended romance and present loneliness, while the tightrope of hope beckons in the other direction — the hope that relationships yet unknown are just up ahead; if only we can keep our balance and brave the journey from here to there.
That dream confronts the darker aspect of our memory. All of us have been betrayed or rejected by lovers. The surgical scars bear witness. As Sartre said in No Exit, “Hell is other people,” but so is heaven, at least as we imagine it. Still, it is easy to give up.
The line I love the best in Manhattan comes in its closing moments: “You have to have a little faith in people.” For those who have been repeatedly hurt, this is asking terribly much. Yet the first job of the lovelorn is to keep alive the faltering flame of future possibilities. A therapist can be of help in this.
It is faith in what another person might be able to do that ultimately brings the lonely to therapy and keeps them in the game of love, doing the hard work that treatment involves; dreaming finally to come out whole; and trying once more to find a lasting romance.
With or without therapy our job is the same, this New Year and every year: To have enough faith in people to keep searching; and, once the right one is found, to hold tight.
Manhattan: one of the best movies — and perhaps the best American blend of drama, romance, and comedy — ever made.