Crímenes y pecados

"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.

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.

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 ****

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.

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.)