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53 out of 59 people found the following review useful: Brilliant, probably Woody's best and most focused, 12 October 2004 Author: schnofel from Austria
*** This review may contain spoilers ***
"Crimes and Misdemeanors" (1989) was the masterful culmination of Woody Allen's dramatic period in the 80's, in which he made brilliant movies like "Hannah and Her Sisters", "Another Woman" or "September". In these movies he tried his best to play with Ingmar Bergman's narrative and aesthetic preoccupations, which are incidentally also Allen's. He has also always been successful at incorporating wit and comedy into the dramatic arc. In "Crimes and Misdemeanors" he confronts two philosophies of life with each other. And once the two story lines are set into motion, almost every scene plays off the theme of the movie. We meet Judah Rosenthal (Martin Landau), a successful and beloved doctor. Coming home with his family from a gala, he finds a letter from his mistress Dolores (Angelica Huston); addressed to his wife. Judah meets Dolores in her apartment, where she explains her deep dissatisfaction with the current situation. She wants Judah on her own, whereas he feels that this affair is getting out of hand and wants to end it. Consecutively Dolores begins to threaten him with uncovering a fund theft he was involved in and with admitting their affair to his wife. Judah cannot see out of this predicament and calls up his Mafioso brother (Jerry Orbach) to help him getting rid of her. Cliff Stern (Woody Allen) on the other hand is a struggling documentary filmmaker, married to a woman who stopped having sex with him a year ago and who would rather see him work than not. So Cliff goes against his principles and takes the job kindly given to him by his wife's brother Lester (Alan Alda), a millionaire TV producer. Cliff has to follow Lester around New York to document his visions for a TV program. On the job he meets Halley Reed (Mia Farrow), an associate producer, who gets interested in his work of passion, a documentary about a Jewish philosopher. At the same time Cliff begins to take interest in Halley.Cliff is portrayed by Allen as a humble, wise and cynical man, who never managed to connect his aspirations to the demands of the real world. He has nothing to offer except his love and knowledge. This enables him to be a mentor to his young niece, but does not profit him in his relationship with Halley. The little girl also works as a stand-in for Cliff's conversations with his conscience. This device is made clearer in Rosenthal's segments, where he confides himself to a rabbi.So we have a dual storyline, where one section is morally repugnant and the other one is idealistic. The rabbi tells Rosenthal that their conversations are always about two views of life. One believes in a harsh world, empty of values and with a pitiless moral structure, while the other sees meaning and forgiveness and a higher power. Rosenthal has heard similar things before, since he was raised very religiously. "The eyes of God are on us always", advised his father. And when it came to the question of God's existence he would add: "In case of doubt I will always choose God over truth." But Judah cannot let God interfere when he plans to kill his lover. He feels guilt, alright, but people get used to circumstances. We deny and try to forget.When in Cliff's segment the Jewish professor commits suicide, it comes as a shock. Suddenly a philosophical system has been taken away. Isn't that one of the things we fear the most? To realize that our beliefs are incomplete and wrong. This understanding only tightens as the movie progresses. The rabbi is going blind, morality has lost. In the end the film is a sobering account of how immorality, deceit and its more harmless companions prevail.I feel Allen had to let the downbeat ending happen, to express a fear of his. In the 90's he would often return to lighter themes. This expresses his curiosity in all aspects of existence. Light and darkness coexist. Tonally "Crimes and Misdemeanors" is not a dark movie. Allen repeatedly breaks up an emotional scene with a punch-line. But Allen is always consistent in his tone, whatever subjects or periods he chooses. He is a tough worker, who has made 33 movies since 1969, which amounts to roughly one movie a year. "Crimes and Misdemeanors" is the clearest in its vision and among his very best.
38 out of 43 people found the following review useful: Great tragicomedy. One of Allen's finest films., 21 April 2005 Author: EThompsonUMD from Massachusetts
Crimes and Misdemeanors (1989) offers perhaps the most complex study of the relationship between film and reality in all of Woody Allen's work, not excepting the lighter treatment of the theme in The Purple Rose of Cairo (1985). In Crimes and Misdemeanors, film and reality interact on multiple levels ranging from the commercial to the philosophical. They also interact through a blend of genres that includes the noir crime drama, romantic comedy, social satire, and the documentary. Along the way the film enthusiast is treated to a dazzling variety of interwoven film clips from Hollywood genre films, darkly humorous newsreel footage of a blustering Mussolini, and arresting talking head interviews with fictional philosopher Louis Levy (played by Martin S. Bergmann, the renowned clinical psychologist and author of The Anatomy of Loving). Allen uses these film-within-film conceits to dramatize a central Dostoevskian (and 20th century) theme: the consequences of a god- absent universe. A crucial film/reality intersection occurs in the final sequence, a first meeting between the central characters of the paralleled "crime" and "misdemeanor" plots: Judah Rosenthal (Martin Landau), a highly successful late middle-aged ophthalmologist and Cliff Stern (Woody Allen), an obscure documentary filmmaker whose one claim to fame is an "Honorable Mention" at the Cincinnati Film Festival. Aware that Cliff is a director of sorts, Judah pitches him a murder mystery plot based on recent experiences in his "real life." Ironically, Cliff rejects Judah's plot as too implausible, shapeless, and amoral to work as a movie even though it is a large part of the movie that Woody Allen as director has just presented, a twist familiar to viewers of Robert Altman's The Player (as well as to readers of Borges, Nabokov, and a slew of lesser post-modern fiction writers). The meeting between Judah and Cliff takes place at a wedding celebration for the daughter of Ben (Sam Watterston), a rabbi who is Judah's long-time friend and Cliff's brother-in-law. Previously, the only link between the two plots comes from Ben's repeated visits to Judah's office for monitoring of a progressive eye-disease. In an early scene in the doctor's darkened examination room, Ben listens to Judah's confession of marital infidelity, financial indiscretion, and fears of exposure from his unstable mistress, Dolores (Angelica Huston), who refuses to be dumped after a several year relationship. What Judah does not confess is the means he uses to resolve his dilemma: the murder of Dolores by a hit man hired by Judah's underworld-connected businessman brother, Jack. For a time, like Dostoevsky's Raskolnikov, Judah suffers agonies of guilt for initiating the taking of a human life, but eventually he "awakens as if from a dream" to find that rather than being punished he continues to prosper, a perverse irony that seems to belie his religious father's conviction that "the eyes of God are always watching us" and that "whether in the Old Testament or Shakespeare – 'murder will out.'" The Woody Allen character, Cliff, is an unsung and largely uncompensated maker of intellectual documentaries. An obsessive film buff, he prefers to spend most afternoons at the movies with his niece and most evenings in his low-budget cutting room rather than face the reality of his unhappy marriage and nowhere career. Alan Alda plays Cliff's other brother-in-law and nemesis, Lester, a thoroughly obnoxious but prominent writer and producer of TV sitcoms. The antagonism between these two characters is sharpened when Lester, as a favor to his sister, hires Cliff to shoot a TV documentary about Lester himself for a "Creative Minds" PBS-style series. The show's Associate Producer, Halley (Mia Farrow), becomes the object of a courtship rivalry between Cliff and Lester. Since Cliff is married and Lester is an obvious philanderer, this romantic triangle forms the "misdemeanor" segment of the film's plot - adultery and licentiousness having long been stricken from the contemporary urban world's list of cardinal sins.Cliff's work on the Lester documentary allows Allen to satirize the TV-centered culture that lionizes a figure like Lester but offers scant recognition or reward to the subject of his documentary work-in-progress, Professor Levy (or, by extension, to Cliff himself). Although he has some moments, Lester is an easily deflated buffoon - a self-satisfied font of reductive and repeated bombast ("if it bends it's funny; if it breaks it's not funny.") Unfortunately, he can only be deflated in art. In "real life" Lester not only has the power to keep filling the airwaves with pap, but to fire Cliff and - most depressingly - to seduce and marry his dream girl, Halley. If Judah finds the absence of moral order comforting, Cliff is totally nonplussed by reality's harsh artlessness, but then, as Judah advises him: "If you want a happy ending, you should go see a Hollywood movie." Despite its plot resolution, Crimes and Misdemeanors is rescued from utter nihilism by its ritual comic ending and by its final shot of the now completely blind Ben dancing happily with his daughter. Despite the literal place of darkness he has entered, the rabbi embodies the affirmative element in Professor Levy's vision, eloquently expressed in these words: "Events unfold so unpredictably, so unfairly, human happiness does not seem to be included in the design of creation. It is only we, with our capacity to love that give meaning to the indifferent universe. And yet, most human beings seem to have the ability to keep trying and even try to find joy from simple things, like their family, their work, and from the hope that future generations might understand more." Alas, the uplifting imagery of the film's ending is counterbalanced, though not thoroughly undercut, by the recollection of Professor Levy's personal response to "the indifferent universe": he exits it via self-defenestration, leaving only a suicide note that reads "I've gone out the window."Crimes and Misdemeanors is as close to pure tragicomedy as Woody Allen gets anywhere in his work, and it is one of his most essential and finest films.
35 out of 40 people found the following review useful: A film that explores the human soul., 22 May 1999 Author: Dastari from Chicago, IL
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.
27 out of 36 people found the following review useful: A perfect film, 30 August 2005 Author: SanFava from Argentina
Not much has to be said. This is an outstanding film, possibly one of the best films I have ever seen. All performances are perfect. Half drama, half comedy, and that very well done. It has deep thoughts about quilt and mistakes, lots of truth about relationships. It has laughs and a perfect ending. Every time I watch this film I just want to sit down and write, just write something interesting to leave behind. The film is already 16 yrs old and you wont notice that at all, it's one of those films that never age. I would recommend this movie to anyone who doesn't want to spend another two hours of his life watching yet another Hollywood crap.
15 out of 19 people found the following review useful: "Human happiness does not seem to be included in the design of creation... If you want a happy ending, you should go see a Hollywood movie.", 20 November 2006 Author: Galina from Virginia, USA
"Crimes and Misdemeanors" (1989)- is Woody Allen's masterpiece and my favorite film. It is urban and sophisticated, subtle and cruel. It is darker than dark and self-ironic. It is profound and touchingly poignant. It is deadly serious and in the same time it is incredibly funny. Its humor is razor sharp and sparkling and the best and funniest Woody's one-liners and comic performances belong here. As always in his best films, Allen had created a clever and elegant film out of his own weaknesses and insecurities and it shines. How much was Allen able to meditate on life, death, God, religion, morality, crimes and the responsibility, love and lust, happiness and the price one pays for it, and among those eternal subjects - how much fun it is to skip work or school and to sneak to the movies. It is universal. It has the references to many Artists and cultures - Chekhov, Dostoyevsky, and Bergman among the others but it is so undeniably and uniquely Allen. It could not have been made by any other director.It is the movie Allen will be remembered for.
13 out of 18 people found the following review useful: A wonderful film about decisions and life, 30 April 2002 Author: john zapata (johnpaulzpt@yahoo.com) from los angeles, CA
After watching four of Woody Allen's movies, I am now convinced that he is one of the best directors of all time. His blend of a serious subject matter and humor is executed into perfection. Crimes and Misdemeanors is probably as serious as Allen can get. It sometimes plays like a thriller and suspense, but it also contains signature Allen humor. Crimes and Misdemeanors is essentially about two separate stories connected only by ending the way it supposed to end in the real world. Allen implies that how these stories ended is not how they will end in a movie but how they will end in reality. Again, Allen explores the nature of human beings, analyzes relationships, and studies human decisions. The first story involves a successful Ophthalmologist named Judah Rosenthal (Martin Landau). He has been married for decades with several children, but has had an affair with a flight attendant named Dolores Paley (Anjelica Huston). Dolores is now obsessed with Judah and plans to confront his wife and reveal his financial secrets if Judah does not leave his wife. After his brother suggested murdering Dolores, Judah tries to decide if he wants to save his life or face murder. The other story involves struggling documentary filmmaker Clifford Stern (Woody Allen). He was forced to make a documentary about his successful brother-in-law-which he despises. He agreed to do it only for the money, and in the process, fell in love with an associate named Halley Reed (Mia Farrow). His problem is that he is married and his brother-in-law Lester (Alan Alda) is also making a pass at Halley. Halley must now decide whether she wants to be with a sincere man or a rich successful one.Halley and Judah's decisions are also meant for the audience to analyze. What would we do if we were in their situation? Would we do the same thing they did? Can we stand having a murder in our conscience? Would we go for the wealthy man even though he may be a phony? Allen plays the audience with this questions and expertly guides them his characters' decisions.Allen intercuts the Judah story with Judah's memories. His recollections of his times with Dolores and his childhood memories with his family. He recalls his father teaching him about God and our obligations. These memories made his decision harder and regrettable. In the other story, a professor makes some statements about life. These statements were heard again in the final montage, and this seems to be Allen's ultimate message about life, relationships, and decisions.This movie is very similar to my favorite Allen movie Hannah and her Sisters. They both involve several storylines that is connected only by the central theme and message. Allen's excellent writing is complimented by his steady direction. Crimes and Misdemeanors is not as funny as Annie Hall or as accomplished as Manhattan, but it certainly ranks as one of Allen's best films.
14 out of 20 people found the following review useful: Rare film that ventures into Good and Evil Conscience, 30 April 2005 Author: nlevin11 from United States
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.)
17 out of 26 people found the following review useful: A masterpiece, 20 February 2003 Author: hausrathman
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.
9 out of 11 people found the following review useful: Is It Woody Allen's Best Movie? I think So, 8 March 2006 Author: Hal-900 from WA, USA
Not that I'm a clairvoyant, but I doubt Woody Allen will ever make a film better than this one. Allen has done some fine films in the last 15 years, but nothing I have seen makes me think that he is capable of surpassing this 1989 production. In my humble opinion, it is not only Allen's best movie, but it is also one of the most interesting American films of the decade. We often take Allen's genius for granted, but there is no denying that this movie is incredibly complex, and emotionally rewarding. It is an ambitious project that is both bold and poetic. The film is divided into two halves; one half is a tragic-comic tale, while the other half is tense and unbearably somber. Allen stars in the humorous half, and he plays a filmmaker who is having a hard time making a documentary about his narcissist brother-in-law. The second story revolves around a wealthy optometrist (played by Martin Landau), who has to deal with an emotionally unstable mistress (Angelica Huston, in another memorable performance). I don't want to spoil any surprises, so I won't say anything else about the plot, but I truly believe this film works as a summarization of everything that is great about Allen. As usual, the Academy singled out one performance (Landau's), but I think every actor in the film is doing a great job, including Allen who never gets much attention for his abilities as an actor; he gives one of his finest performances. If you do not like this movie, Allen is not for you. Sven Nykvist's cinematography is superb, and Susan Morse's editing is simply brilliant.
12 out of 18 people found the following review useful: Does anyone else see what I see?, 13 May 2005 Author: EW-3 from United States
This movie is two separate stories made into one via just three devices: 1) a relatively minor, albeit symbolic character (a blind Rabbi), 2) a brief meeting of the two main protagonists, and 3) a philosopher's narration at the closing (or it would seem so, anyway). The first section - the "crime", and the good part - tells the story of an eye doctor (very nicely played by Martin Landau) who has it all: a wonderful wife and family, a successful career, a beautiful home, and a neurotic mistress (Anjelica Huston), the last of which threatens to spill the beans and destroy everything in his life. Landau is a respectable, decent guy who finds himself unable to cope with the enormity of these circumstances, and he goes to an extreme by enlisting the help of his mob-connected brother (Jerry Orbach), who has the mistress killed. There follows some interesting scenes in which we see Landau going to an emotional edge over what he has done, and searching his past and present for some answers. It is a well-done, believable story that raises a lot of interesting philosophical questions. The second section - a much lighter story than the first - stars Allen in his typical genre in which he plays a filmmaker doing a portrait of his brother-in-law TV producer (Alan Alda), and whom he greatly despises. This story is further complicated by a love triangle with a television documentary maker, played by Mia Farrow. There are a few amusing lines in this section, and it wraps up into a somewhat ironic ending. But what is the connection here? The first time I saw this film, I kept asking myself: "What do the Landau and Allen stories have to do with each other?". I found myself asking the same exact question the second, third, and fourth times I saw it as well.Then I saw an interview with Allen. He said that the Landau segment is a statement of his belief that there is no God or divinely-inspired morality - not much of a surprise there. The second part of the film, says Allen, was trying to tell us that intentions do not matter, but rather it is success that counts in this world; that even though his character truly cared for the Farrow character, it was the vain, shallow, unworthy, but nevertheless rich and successful Alda character that eventually won her heart. OK, I guess that point comes through as well. But once again, we are back to the same question: What do these two stories have to do with each other? Not much, from what I can see. What is the "crime" or even the "misdemeanor" committed in the Allen segment? If you can connect these two stories, you might also have some success in connecting "Sleeper" with "Gone With The Wind" - the stories really don't mesh. To put it bluntly, it almost appears as if Allen had two separate scripts, neither of which were meaty enough for a full-length film, so his solution was to combine them into one movie. Am I correct? Someone please explain to me why I am not.
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