Crimini e misfatti

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

Martin Landau, a successful doctor, contemplates murdering a former mistress who threatens his easy life while Woody Allen, an unsuccessful filmmaker, contemplates having an extramarital affair. This film, alongside "Annie Hall," will one day be rated as one of Woody Allen's greatest achievements. It is an important, intelligent work that explores the implications of whether or not this is indeed a moral universe. It also very funny. The subplot about Allen making a film about his successful, conceited brother-in-law (Alan Alda.) A masterpiece. I doubt he will reach these heights again.

I am beginning a review of Allen's films and decided to start with this one, as it is considered his most intelligent. Certainly, the focus of the film is at the end where the primary character proposes making this film to Woody, who has played a filmmaker. This directly self-referential device is bold, and could have been part of a fine web, as several other filmmakers have created.

But the problem is that we're given pretty thin broth up until that point. Woody tries to be as honestly raw as Chekhov and as deeply symbolic as Kafka. Instead we get a sophomoric effort.

God's eyes are mentioned a dozen times. And the protagonist is an eye doctor who is treating a rabbi who goes blind. `Get it?' Woody shouts. To set up the self-referential last scene, we are treated to Woody playing an unappreciated filmmaker making a film inspired by a Jewish philosopher who seems happy but is not. `Get it?' Woody nudge nudges. To underscore that in the theater, we are the eyes of God, Woody bluntly demonstrates by inserting his own viewing of films and philosophizing about film.

This is not intelligent filmmaking, my friends. It is the clumsiness of someone smart enough to see what art is, but not clever enough to create it. Maybe he thinks 90% of creating art is showing up.

Along the way, we get an interesting performance from Alda. But it is all too obvious that every character's dialog is Woody's and they are acting just as Woody has demonstrated to them. Check out their mannerisms. Maybe his comedies will be better. His books are excellent.

When I registered with the IMDb, one of the survey questions asked what my favorite film was. I listed Allen's Crimes and Misdemeanors. I don't know if this is always true, but for the most part I feel fairly confident regarding my choice. Allen's story here works, like most well written literature, on many levels. It is funny (Woody's lessons), symbolic (the Rabbi going blind), ironic (the good suffer and the evil go unpunished), deep (faith and suicide), and is a film that leaves you with something to identify with and learn from. Even Hally Reed's (Mia Farrow) surprising revelation at the end of the film, which I won't reveal of course, shows us a bit about the dangers of prejudging others. Woody shows us that we shouldn't judge on the surface, but must look deeper into the individual value of people. Do we trust Hally, or do we stick to what we see as the truth about Lester (Alan Alda)? This is a lesson that Woody's character, Cliff, doesn't even fully grasp at the end of the film, but Allen gives us the insight, even though what Hally reveals about Lester goes against what we've seen of him.

Crimes and Misdemeanors is certainly not for all tastes. It's not exactly a film that people would watch for pure escapism. This is a film to be treasured, revisited and held up with some of the greatest films of all time. Not for how it looks or sounds, but for what it says. This is a film aimed at both the heart and the mind and succeeds in capturing both.