Crimes and Misdemeanors

Writer-director Woody Allen smoothly examines the parallels between a nervous documentary filmmaker in love with an indifferent female producer and a celebrated family man contemplating having his frustrated, frustrating mistress bumped off. A serious-comedy, saddled with a bit of pretentious banter as well as a draggy sub-plot with Sam Waterston as a rabbi losing his sight. Still, the incredibly rich performances from a well-chosen group of actors strengthen the film, including Woody as the filmmaker, Alan Alda as his egomaniacal film subject and brother-in-law, Mia Farrow, Martin Landau (in the film's best turn), Anjelica Huston, Caroline Aaron and Jerry Orbach. One of Allen's finest endeavors, cleverly-maneuvered and sly; it is by turns witty, beguiling, funny and ironic. ***1/2 from ****

Let's begin by declaring that you do not need to be a Woody Allen fan to appreciate this film. As is often the case, Allen's schlemiel character is the least sympathetic and interesting one in the movie.

But that aside, here's a story that I found thoroughly engaging. Is there a perfect crime? Is guilt the same as remorse? How does a "good" person come to terms with his sins?

The blind Rabbi: Is God unseeing? The Holocaust survivor philosopher who challenges survival (that's all I can say without spoiling): is there any real redemption?

The movie has flaws but I give it a "10" for daring to ask serious questions. (And the visit to the old house in Brooklyn has a dynamism that all of us who remember our childhood homes will relate to.)

Most would say "Annie Hall", some would say "Manhattan", those who prefer Allen's early career might even mention "Sleeper". Few would call "Crimes and Misdemeanors" Woody Allen's best film as writer/director, but the more I watch it, the more I realize that it's not only my favorite, but in many ways the film Allen was working towards for the entirety of his career as a writer prior to this.

In "Crimes and Misdemeanors" Allen revisits a recurring theme in many of his films, adultery. It would be a simplistic and narrow-minded view of this film to say that it was simply about adultery because it is really far more complex than that, and essentially a film about all varieties of human nature and relationships, and one could even argue- the relationship between reality and film as explored through the lens of genre- romantic comedy, Film-Noir, and documentary, and what parts of this film are- satire.

"Crimes and Misdemeanors" is one of Allen's best scripts. Any screenplay attempting to accomplish as much as this one does could easily fall apart, and Allen has had less convincing attempts than this one with similar ambitions, but everything works beautifully here. This film practically defines the 'tragicomedy' sub-genre, with neither overpowering the other and much of the humor is dark humor originating in tragedy, something that is acknowledged by Allen through the character of Lester (played to perfection by Alan Alda), who comments that comedy is nothing more than "tragedy plus time". He also mentions that comedy has to have an ending, and that's one of the best things about this movie- Allen allows dramatic scenes to succeed at being dramatic and emotional, then throws a hilarious punchline at you, which has an effect that is both entertaining and somewhat unsettling. This is an expertly-written movie.

"Crimes and Misdemeanors" is the culmination of a decade of consistently brilliant, evocative, original, and fascinating films from Woody Allen, whose 80's output I would personally consider to be his best. His 70's work is far more popular, but his 80's work contains some of the most unique and memorable films ever made: "Stardust Memories", "Zelig", "The Purple Rose of Cairo", and "Hannah and Her Sisters", as well as numerous overlooked and generally forgotten films that can only be called excellent, such as: "A Midsummer Night's Sex Comedy", "Broadway Danny Rose", "Radio Days", "September", and "Another Woman". On top of all these memorable films is "Crimes and Misdemeanors", which is simply my favorite Woody Allen film and almost certainly his best and most focused effort.

10/10

Woody Allen is not everybody's cup of tea, with me while his body of work is not always consistent(but that is true with a lot of directors) much of it is wittily written and insightful as seen with his masterpiece Annie Hall. Crimes and Misdemeanours has everything that is so good about the best of his work. With the subject matter and how the comedy and seriousness is blended Crimes and Misdemeanours is one of Allen's most ambitious, and along with the likes of Annie Hall, Hannah and Her Sisters, Husbands and Wives and Manhattan it's one of his best too. The look of the film is elegant and hauntingly dark, while the score is jazzy and seductive. The story has some key themes(good and evil and life and death as examples) that are very clearly addressed and dealt with with adroitness and truth. The concept is not an innovative one as such but it's challenging and hugely compelling. And the writing is to thank for that, the humour is wonderfully ironic and very characteristic of the distinctive wise-cracking Allen style, there are references and observations that are sharp and insightful(always one of Allen's strong points as a writer) and they is blended well with a serious tone that is dark and appropriately troubling, the shifts between comedy and drama didn't jar to me. The acting is very good, often outstanding. Woody Allen acts as well as directs and writes and there are no obvious problems with his performance(or his directing), not a likable character by all means but that was the intent. Anjelica Huston doesn't disappoint, nor does Jerry Orbach before his Law and Order days, Sam Waterson and Claire Bloom. Mia Farrow is affecting as well. But the acting honours go to Alan Alda and especially Martin Landau, Alda plays an absolute weasel to perfection while Landau gives a performance that has not only only been matched by his Bela Lugosi in Tim Burton's Ed Wood but also one of the greatest performances of any Woody Allen film. All in all, a Woody Allen classic, an example of ambitious done brilliantly. 10/10 Bethany Cox

This is a profound film, a true classic and great even among Woody Allen's great films! Thought-provoking and involving, I've found since seeing it that the film and its statements about good versus evil, denial, guilt, narcissism, have never really left me. A film with many layers, one that demands a re-visiting from time to time.