In what may be his
most perfectly realized
film, Woody Allen plays a small-time filmmaker who attempts to finance
a documentary by directing a profile of his famous brother-in-law, a
shallow television producer. Meanwhile, Martin Landau plays a
successful opthomologist whose two-year affair is threatening to
destroy his marriage. The two tales play out separately,
connected only by theme, mood and one minor character who has a
connection with both men. The comic sections may be low on
classic Allen one-liners ("The last time I was inside a woman was when
I visited the Statue of Liberty"), but are still highly humorous,
thanks to Allen, playing his usual nebbish, and Alan Alda, who
brilliantly skewers his usual sympathetic "sensitive guy"
image.
In the other half of the film, Landau was rightly nominated by the
Academy for his portrayal of a man on the edge of a nervous breakdown
from the choice he makes to keep his mistress (Huston) from
blackmailing him. Landau's work is some of the finest you
will
find in any Allen film and is clearly a precursor to his amazing,
revelatory turn as Bela Lugosi in Tim Burton's ED WOOD several years
later. Unfortunately, CRIMES AND MISDEMEANORS is the only
Woody
Allen film Landau has appeared in to date.
CRIMES AND MISDEMEANORS'
ending may be chock
full of Allen's usual 'God is Dead and I'm Not Feeling So Good Myself'
fatalism, but as Landau says in their conversation, if you want a happy
ending, you should see a Hollywood movie.
½ - JB
ADD ANOTHER QUOTE AND MAKE IT A GALLON
"What was the guy so upset about? You think nobody was ever compared to Mussolini before."