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  • Crimes And Misdemeanours [DVD] [1990]
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Crimes And Misdemeanours [DVD] [1990]


Price: £6.10 & FREE Delivery in the UK on orders over £10. Details
Only 8 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
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£6.10 & FREE Delivery in the UK on orders over £10. Details Only 8 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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Frequently Bought Together

Crimes And Misdemeanours [DVD] [1990] + Hannah and Her Sisters [DVD] (1986) + Husbands And Wives [DVD] [2002]
Price For All Three: £17.05

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Product details

  • Actors: Martin Landau, Woody Allen, Bill Bernstein, Claire Bloom, Stephanie Roth Haberle
  • Directors: Woody Allen
  • Writers: Woody Allen
  • Producers: Charles H. Joffe, Helen Robin, Jack Rollins, Robert Greenhut, Thomas A. Reilly
  • Format: PAL
  • Language: English
  • Subtitles: Danish, English, French, Italian, Norwegian, Spanish, Swedish
  • Dubbed: French, Italian, Spanish
  • Subtitles For The Hearing Impaired: English
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9 - 1.85:1
  • Number of discs: 1
  • Classification: 15
  • Studio: Twentieth Century Fox
  • DVD Release Date: 1 July 2002
  • Run Time: 100 minutes
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (23 customer reviews)
  • ASIN: B00005KIT3
  • Amazon Bestsellers Rank: 14,556 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Reviews

Product Description

DVD Special features:

Original Theatrical Trailer
Interactive Menus Screens and Chapter Selections
Soundtrack in Mono: English, French, Italian, Spanish
Subtitles: English, French, Italian, Spanish, Swedish, Norwegian, Danish, English for the hard of hearing.

From Amazon.co.uk

Along with Deconstructing Harry which would follow seven years later, this is Woody Allen's most sombre comedy-drama, as well as his most ambitious film of the 1980s. Allen weaves together two central stories about very different groups of Manhattanites, linking them through a mutual friend, a rabbi (Sam Waterston) who's going blind. This image is key to the sometimes ponderous, often clever musings on faith, morals, and vision (or lack thereof) that obsess his deeply troubled and unhappy characters. At its centre, the film explores people who, through lack of religious conviction or arrogance, rationalise their awful, selfish acts by presuming that God couldn't possibly be watching.

The central story--a neo-noir of sorts--follows a fortuitous ophthalmologist (Martin Landau, all sweat and grimaces) who faces the prospect of his obsessed mistress (Anjelica Huston) ruining his life by telling his family of their affair. Desperate, the doctor hires his slimy criminal brother (Jerry Orbach) to eliminate the situation, and then suffers overwhelming regret afterwards. The flip tale is more typical Allen. Funnier and lighter, it focuses on an impossible romance between Allen's character and Halley Reed, a film producer played by Mia Farrow. Between Allen and his Hollywood fantasy stands his brother-in-law (Alan Alda, perfectly cast as an obnoxious, successful sitcom producer), who also desires Halley. Allen is Landau's opposite: an honest, struggling documentarian who cares nothing about fortune, suffers in a loveless marriage, and is surrounded by triumphant phonies. The nice-guys-finish-last moral may be as contrived as it is devastating. Yet, when Landau and Allen finally share a final scene during a wedding, their faces, subtle body movements, and contrasting fortunes somehow suggest that indeed God may be blind, and if not, the deity has a very sick sense of humour. --Dave McCoy

Customer Reviews

4.7 out of 5 stars
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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Jonathan James Romley on 21 Aug. 2006
Format: VHS Tape
Despite what other critics have said, it remains untrue that Allen only discovered Bergman after the "early funny ones" and thus, flippantly decided to be profound. Long-term aficionados of the director will know that he was indulging in homage to the likes of Bergman, Godard and Fellini as far back as Everything You Always Wanted to Know About Sex, Sleeper, and Love & Death. However, whereas those films took certain elements from European cinema and turned them into satire, Allen would eventually begin to explore his own serious side with films like Interiors, Stardust Memories, Another Woman and September, before finally perfected his new found style with this glorious and morally oblique modern-masterpiece.

Crimes and Misdemeanours is a film that manages to move gracefully between two very different (though ultimately, very serious) stories, whilst simultaneously juggling a tone that is both light and humours, but also bleak and profound. By focusing on two different characters, Allen is able to bring us into the film slowly... it is to his credit as a filmmaker that he is able to pull off the subtle shifts in style, creating a mood in one scene that is vague and philosophical, before cutting to something that seems much more frivolous. The serious moments never seem pretentious and the lighter moments are never forced, with Allen making great use of his persona as the slightly neurotic loveable loser at odds with the world around him, as he's hired by his brother-in-law (a pompous TV producer) to direct a flattering documentary portrait of the man and his work.
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27 of 29 people found the following review helpful By Jonathan James Romley on 31 Jan. 2006
Format: DVD
Despite what another commentator has said, it remains untrue that Allen only discovered Bergman after the "early funny ones" and thus, flippantly decided to be profound. Long-term aficionados of the director will know that he was indulging in homage to the likes of Bergman, Godard and Fellini as far back as Everything You Always Wanted to Know About Sex, Sleeper, and Love & Death. However, whereas those films took certain elements from European cinema and turned them into satire, Allen would eventually begin to explore his own serious side with films like Interiors, Stardust Memories, Another Woman and September, before finally perfected his new found style with this glorious and morally oblique modern-masterpiece.
Crimes and Misdemeanours is a film that manages to move gracefully between two very different (though ultimately, very serious) stories, whilst simultaneously juggling a tone that is both light and humours, but also bleak and profound. By focusing on two different characters, Allen is able to bring us into the film slowly... it is to his credit as a filmmaker that he is able to pull off the subtle shifts in style, creating a mood in one scene that is vague and philosophical, before cutting to something that seems much more frivolous. The serious moments never seem pretentious and the lighter moments are never forced, with Allen making great use of his persona as the slightly neurotic loveable loser at odds with the world around him, as he's hired by his brother-in-law (a pompous TV producer) to direct a flattering documentary portrait of the man and his work.
Read more ›
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3 of 3 people found the following review helpful By km.ord on 29 Sept. 2010
Format: DVD Verified Purchase
In my opinion, this is Allen's greatest testament as both writer and director. This is a multi complex movie which covers so many aspects of life. Its major themes include guilt, obsession, betrayal, religion, sexuality and murder. Martin Landau is absolutely stunning in his role as an ophthalmologist who is the pillar of the community, and whom is blackmailed by a neurotic lover - which ultimately leads to moral and tragic consequences. Allen struggles to be his usual humorous self in the midst of his own crumbling marriage; he also suffers as a victim of unrequited love (with Mia Farrow), as he tries to rebuild his own life.

There are three main stories which make up the overall plot, although the Landau storyline is the most dominant. It has to take centre stage because the themes within this particular plot are the nucleus which holds everything together. All of the stories are indirectly interlinked, as are the characters, which leads to a strange, yet fascinating conversation between Allen and Landau at the end of the movie, when they eventually meet by accident at a relatives wedding. Humour is present within this story; however, the themes are based on mental suffering, which makes it difficult for the lighter side of the movie to dominate in any way.

It's a movie which I've watched on many an occassion. Each viewing has revealed something new - which is the blueprint for any great story. I cannot recommend this movie highly enough. The script is so cleverly written, it makes you realise perhaps, how enormously difficult it would be to write something yourself, based around human complexity. The story really does reveal Allen as a master scriptwriter.
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