Crimes and Misdemeanors (rewatch)

This is the last movie I own that I haven’t watched since before I started blogging.  Now I have at least one review written for every film in my DVD collection (although some of the early ones are terrible… some of the later ones are, too).  I’m still going to keep revisiting the ones I haven’t seen for a while, but this is a nice personal milestone I’ve been looking forward to.

I remember very well when this film came out because it struck a chord with me.  I had recently done a thing which I was not proud of.  It was far, far, far from a murder but it was a stupid, thoughtless act that ended up hurting some people, albeit in a relatively minor way.  I had been troubled with guilt and worried about getting caught.  Like Judah (Martin Landau), I had to fight the urge to confess… and also like Judah, as time passed and nothing happened, the guilt faded.  Occasionally it would come to mind, but the moment always passes.

Allen’s film explores these issues brilliantly, issues of morality and consequences and what gives meaning to the universe.  It has a rich complexity that runs deep throughout, where no choices are simple.  Dialogue that by all rights should feel preachy and forced comes out perfectly organic, with just the right amount of weight and doubt.  Landau pulls off some amazing moments, such as when he blurts out “I think I’ve done a terrible thing” and just a beat later covers up for it, but that beat is so beautifully timed.  I’m sure I’m not articulating it well, but the timing of his performance and the facial expressions and the cadences all feel just right.  Likewise, Anjelica Huston is terrific, posing a plausible and palpable threat to Judah without compromising her own sense of vulnerability and humanity.

It’s also one of Allen’s finest blends of drama and comedy, with neither imposing on the other.  The Allen/Farrow/Alda story seems to pop up just when you want it to, providing a lighter counterpoint but not so light that it’s distracting.  I really like the handling of the Alda character, too.  He’s not just an easy target (like the Michael Sheen character in Midnight in Paris) and you believe that Farrow would see something in him beyond the superficial.  You question who is more right in this scenario.  Who is the selfish one?

With excellent photography by Sven Nykvist, a full array of admirable supporting performances (Jerry Orbach!), and intriguing, elegant use of flashbacks (including one of Woody’s signature “talking to the past” scenes), it’s a wonderfully enriching and satisfying film.  I can’t quite explain why I’m backing off from my highest rating — it’s more a gut instinct than anything I can put into words — but it’s definitely way, way up there.  Rating: Great

IMDb