All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Crimes and Misdemeanors
A film about humanity.
An opthamologist's mistress threatens to reveal their affair to his wife, while a married documentary filmmaker is infatuated by another woman.
This review reportedly contains spoilers. I can handle the truth.
Such a perfect encapsulation of Allen's worldview that he might as well have just retired afterward—this was everything he had to say in one brilliantly conceived package. That its themes are stated so bluntly has never bothered me, because the characters are actively wrestling with those questions; the dialogue (Judah's especially) may be openly existential, but none of it rings false in this particular context. What's mysterious and miraculous to me, still, is the way that the two stories inform each other without Allen forcing the issue via cutesy deliberate parallels. Until the magnificent final scene that brings Judah and Cliff together, it really does play like two completely separate films that have been spliced together, each of which…
Bewildering, can't remember seeing a Woody Allen film where a character wrestles with guilt before.
“God is a luxury I can’t afford”
Crimes and Misdemeanors is a rare piece of cinema; blending straight up humor whilst giving the audience something to chew on. Actually, [it’s] more than just something… it’s a lot of things. It’s rare to see a film appease on both intellectual and entertainment levels. Woody Allen addresses the complexity of human nature/emotion(s) with both dramatic and comedic appeal; satisfying everyone.
Allen’s screenplay revolves around two protagonists with no relation with the other. But because of their similar situations, are seamlessly juxtaposed in this story. Judah (Landau) a praised philanthropic ophthalmologist in the middle of an ugly love affair that may bring down his life’s work. Cliff (Allen) is a down on his…
Crimes and Misdemeanors is Woody Allen in top form. It has a lot to say about human nature and is one of his most poignant films. Martin Landau also gives a great performance.
Performances : 7.7/10
Story : 7.1/10
Production : 6.6/10
Overall : 7.13/10
I'd just like to say that as a technician, Woody Allen is not a class A director. As a story teller though, I don't think there has been or ever will be a better director.
Just my two cents.
"If it bends, it's funny. If it breaks, it isn't." ~ Lester
Ah, Woody Allen. What can I say? I love him; I hate him. I get him, and I don't understand what the hell he is trying to accomplish. He's a genius, and he's a total nincompoop. Huge winner. Major loser. Why do I even bother?
Crimes & Misdemenanors is my 17th venture into the world according to Woody. It's classified as both a "drama" and a "comedy" because there are really two stories. One is more dramatic and the other a bit more comic, and they eventually intersect ... kind of like two parallel lines reaching infinity ... with a blind rabbi providing the proper place and time. So…
Bit of a mixed bag in that I quite enjoyed some of the performances (especially Alda) and the deep dive in to being wrecked with guilt but ultimately coming to accept it but a decent amount of it didn't work. I actually wasn't enamored with Landau or Allen's performances, each overly expressive and doubling down on making things utterly obvious in terms of how things falling apart will get to you. Still witty and full of personal observations that make it above average Allen, but nowhere near the top for me.
Crimes and Misdemeanors is a strange film that really shouldn't work. Its mix of humour and cold-blooded drama is uncomfortable, jarring even, but that only makes it all the more truthful. Allen's leading characters — himself included — are deeply flawed human beings. Allen's own character is perhaps the most pathetic he's ever played. Angelica Huston, Alan Alda, Mia Farrow, and Sam Waterston are all stellar as the supporting cast, but the real standout is Martin Landau. This is definitely among his best roles — right up there with Ed Wood. His portrayal of guilt is brutal. In a scene where he discusses murder with his brother, the way he manipulates the conversation, his brother and even himself is incredible. This is also some of Allen's best writing with bold moments like Landau interacting with his own flashback. The ending is chilling and left me feeling well and truly fried.
The kind of film that requires more than a single viewing. Long story short it's amongst Allen's finest work and a real rival against the likes of Annie Hall and Manhattan. Still mulling this one over. Loved the cinematography and the ending.
Woody Allen managed to write two stories that seem to have nothing to do with each other, yet somehow neither would work by itself. When combined, however, it creates a beautiful movie that tackles a ton of major themes, yet never gets buried under its own weight. His storytelling ability is masterful, knowing the perfect time to switch between the two ongoing stories to make sure the audience never gets bored. Woody Allen proves again why he is often considered an all time great.
One of Allen's best, superb acting and script. he delves so deeply into his characters that i wish he was still making films like this.
Woody Allen der Neunziger = Ingmar Bergman mit Stützrädern.
Sven Nykvist filmt das Licht einer sterbenden Kaminglut, immerhin das ist schön und gut.
Deus é justo? Deus existe? Justiça existe? Em um mundo sem Deus, o que me impede de cumprir este papel?
Um Woody Allen que soa infinitamente rico e absolutamente sintético e persuasivo ao mesmo tempo.
"The last time I was inside a woman was when I visited the Statue of Liberty"
Allen manages to tie two very different storylines together, one very dark, dealing with moral dilemmas and guilt, and the other a hilarious look into how Cliff (Woody Allen) tries to get the girl, but is stuck dealing with his more successful brother in law. I was surprised by the themes this movie tackles, I mean this movie is classic Allen, but there's more to it in terms of drama. Martin Landau is fantastic, and this movie is one of Allen's very best. I adored it.
Really the quintessential Woody Allen film as it so expertly combines his nihilistic world view with his sense of humor. Telling two separate stories that connect at the end is a risky structural gambit but it pays off beautifully because both stories illustrate the same themes and ideas but without any overly obvious parallels or coincidences.
The flashback scene where Martin Landau addresses the ghosts of his family about his guilt gives me serious chills. The fact that he then gets over it and continues to lead a prosperous, successful life is even more chilling.
I had remembered Professor Levy as the one ray of hope in the film, but the fact that he commits suicide makes it impossible to just accept his philosophy in the film at face value.
"But the law, Judah. Without the law, it's all darkness."
Every film that has ever been nominated for an Academy Award in any category. Enjoy!