Diane Keaton replaced Mia Farrow. Woody Allen had written the lead female role for Farrow, but Keaton got the part following the breakup of the pair's personal relationship. There is a rumor that, despite the very public feuding between her and Allen, Farrow showed up for a costume fitting, and needed to be informed that she was no longer in the movie.
"Manhattan Murder Mystery" was actually the generic working title during production--Woody Allen films usually have generic titles during production like "Woody Allen Fall Project"--but since no new title could be thought of, Allen decided to leave that as the title.
Anjelica Huston said that the set was "oddly free of anxiety, introspection and pain" and attributed this largely due to the presence of Diane Keaton. Huston added: "On this movie, he [Woody Allen] showed up in the hair and makeup trailer to tease Diane about her hair and her big photography books, all diligently marked with yellow stick-'em paper. Around Diane, he was open and accessible".
Woody Allen and Marshall Brickman planned to make Annie Hall (1977) a murder mystery, but cut that subplot out and used it for this movie. This is why Brickman is credited as co-writer.
One of eight collaborations of Woody Allen and Diane Keaton. He co-starred in six of them and directed seven of them.
When Diane Keaton replaced Mia Farrow, Woody Allen rewrote the script and centered the more comic side of the couple on her, admitting Keaton is funnier.
During the early 1970s, Woody Allen was working on a script about two New Yorkers who try to solve a murder, when he got stuck. While blocked, he noticed a book on Russian history at his home. As the deadline was fast approaching for delivery of a contracted screenplay, Allen got inspired and decided to spoof the entire genre of novels based on Russian history, and this became Love and Death (1975). He put the mystery script on the back-burner. That script eventually became the genesis for this film.
Woody Allen was inspired in part by The Thin Man (1934) series of movies, modeling his main characters after Nick and Nora Charles.
In the book "Woody Allen on Woody Allen" (rev ed. 2004), Woody Allen said of rewriting Mia Farrow's part for Diane Keaton: "No, I couldn't do that. In a regular script I would have done that upon hiring Diane Keaton. But I couldn't because it's a murder mystery, and it's very tightly plotted, so it's very hard to make big changes . . . I had written [the character for] more to what Mia likes to do. Mia likes to do funny things, but she's not as broad a comedian as Diane is. So Diane made this part funnier than I wrote it".
The house of mirrors sequence was inspired by Orson Welles' The Lady from Shanghai (1947).
As of June 2020, this is the final Woody Allen and Diane Keaton film. It's also the only Allen-Keaton film of the 1990s and the only film that the pair had co-starred in since 1979's Manhattan (1979) (Keaton had a small cameo in the Allen film Radio Days (1987)).
According to Eric Lax's book, this is one of Woody Allen's favorites of his own films. They are (in order) Match Point (2005), The Purple Rose of Cairo (1985), Stardust Memories (1980), Broadway Danny Rose (1984) and this film.
Reportedly, Woody Allen put off making this movie for several years, as he thought that the material might be just too insubstantial for a picture.
The only film to star Woody Allen and Diane Keaton in which their characters have a child together.
This was the first film directed by Woody Allen since Stardust Memories (1980) not to co-star Mia Farrow. In the interim, she had appeared in 13 consecutive Allen films from A Midsummer Night's Sex Comedy (1982) to Husbands and Wives (1992).
This is the fourth and final writing collaboration between Woody Allen and Marshall Brickman. The previous one was the similarly titled Manhattan (1979).
Apparently, Woody Allen used elements that he discarded from Annie Hall (1977) for this movie.
One of three movies that Anjelica Huston and Woody Allen have both worked on. The others were Casino Royale (1967) and Crimes and Misdemeanors (1989).
According to the show-business trade paper "Variety", "Aside from the 'Oedipus Wrecks' episode from New York Stories (1989), this represents Woody Allen's first flat-out comedy in nearly a decade".
Diane Keaton has said that in actuality she hates mysteries and never had read any Nancy Drew detective stories.
Larry and Carol discuss the murder during the overture of "Guys and Dolls." A revival of the musical opened on Broadway in 1992 and ran through early 1995.
This was the second and final film that Woody Allen made for Tri-Star Pictures. The first was Husbands and Wives (1992).
After Men of Crisis: The Harvey Wallinger Story (1972) and Love and Death (1975), this is the third and final time that Woody Allen and Diane Keaton played a married couple.
Included are scenes from two classic film noirs: Double Indemnity (1944) and Lady From Shanghai (1947).
The film begins with Woody Allen and Diane Keaton attending a hockey game between the NY Rangers and Washington Capitals at Madison Square Garden. Woody Allen was indeed a regular at Madison Square Garden, but mostly attended Knicks (basketball) games rather than hockey games.
One of two 1993 films that starred both Alan Alda and Anjelica Huston--the other was the made-for-TV movie And the Band Played On (1993)--and one of three in which he and Huston have both appeared. It was also the second Woody Allen film in which Alda and Huston appeared; the first was Crimes and Misdemeanors (1989).
One of a handful Woody Allen directed films which feature a murder. The movies include: Match Point (2005), Cassandra's Dream (2007), Irrational Man (2015), Shadows and Fog (1991), Manhattan Murder Mystery (1993), and Crimes and Misdemeanors (1989). Moreover, death is a theme in both Deconstructing Harry (1997) and Love and Death (1975), both which feature the character of the Grim Reaper, as per the inspiration of Ingmar Bergman's "The Seventh Seal" [The Seventh Seal (1957)].