All the films from all the editions, including those subsequently removed, presently totalling 1177. 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…
I'm pretty sure that I'll never get around to watching every Woody Allen film, and that's not just because of his varying degrees of quality (going from Midnight in Paris to To Rome with Love is one of the multiple examples of dips in caliber), but because no matter what, he's so goddamn prolific. By the time I catch up to another one of his most renowned works, it feels like he's released two more.
Funny enough, I feel that it is Allen's scattershot and conveyor-belt-esque filmography that adds to his more influential and masterful efforts, and with Crimes and Misdemeanors, it proves that when a Woody Allen film works, it really works.
With a universally strong and varied…
“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…
Bewildering, can't remember seeing a Woody Allen film where a character wrestles with guilt before.
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.
A perfect supplement to Annie Hall. If you watch both, you'll definitely pass Relationship class with an A. Also, make top of your class in Advanced Existential New Yorker Comedy .
This was a film suggested to me on the back of my enjoyment of irrational man.
If I'm honest I was a little disappointed. I felt completely unengaged with the murder plot. Which given that is the main focus of the film and the catalyst for the ideas explored, was a bit of a shame. I found the subplot of a documentary maker far more interesting.
Allen is a middle-of-the-road filmmaker who makes middle-of-the-road films for middle-of-the-road cinephiles (or maybe that's just me being judgemental...). It just so happens that Crimes And Misdemeanors is one of the stronger efforts.
An ophthalmologist's mistress threatens to reveal their affair to his wife, while a married documentary filmmaker is infatuated by another woman. - IMDB
Most of the time Woody Allen is very hit or miss. As it turns out, this one plays right down the middle. In fact, I lied in the first sentence. Most are right down the middle. And this doesn't differ from most.
Slightly funny in parts, there were more parts that I found it more despicable than anything else. Especially when it features Mia Farrow and Woody hanging out with a young girl, unbeknownst to his wife in the film. Yeah, hindsight.
There's still a few of his films that I'm yet to see. I'll get to some (not all) of them eventually.
I think a lot of people point to Crimes and Misdemeanors as the end of Woody Allen's Golden Age (if they ever admit to him having one in the first place) of films both out of convenience (this being his last film in the 80s) and because it is the last qualified masterpiece that he created at the time. And true enough, the films would start to see a sharp decline shortly after this film came out, with occasional highlights.
After being marginally successful (by his standards) with two successive dramas, Crimes and Misdemeanors more successfully blends the two genres together to create a wholly effective film. Crimes and Misdemeanors rivals the depth of Annie Hall and Manhattan, though in…
This is a very unique type of comedy, as its goal is not to create likable characters that you root for as they throw out jokes and do ridiculous stuff. This is much more a drama, where the comedy is either the irony of the situation or perhaps how a character chooses to reply to something someone else says. Woody Allen kills it once again with the dialogue. This movie and Annie Hall both are competitors for movies that have my favorite dialogue ever. I am so glad I followed up In the Mood for Love with this movie, as it had so many things going on at once. It basically had two separate plots, and each one had more…
"Last time I was inside a woman was when I visited the Statue of Liberty."
Like all of Allen's films, 'Crimes and Misdemeanors' is generously peppered with such dry witticisms, but this is very much Woody attempting to serve his audience a spicier, more serious story.
Structured as a duel narrative, what he dishes up is two very different tales of adultery. One follows Martin Landau's philandering eye doctor, who finds himself resorting to desperate measures in order to cover his long-term affair with a hysterical lover, and subsequently finds himself enveloped in an existential crisis of morals & faith. Whilst the other sees Allen's shambolic TV documentary maker attempt to deal with the despondent fallout of his failing marriage by…
"...I'm talking about reality."
This is a near-perfect encapsulation of the themes and questions Woody has tackled throughout his career. One of his best.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!