Blu-Ray Review: Crimes and Misdemeanors

Director: Woody Allen
Screenplay: Woody Allen
Starring: Martin Landau, Woody Allen, Alan Alda, Mia Farrow, Anjelica Huston
Country: USA
Running Time: 89 min
Year: 1989
BBFC Certificate: 15


What’s been great about reviewing a handful of Arrow’s re-releases of Woody Allen’s back catalogue is that it’s made me realise how much I love his work. I’ve largely been cherry-picking supposed ‘on-form’ Allen movies, but they’ve never failed to impress or entertain me. I watched Cafe Society the other week and was less enamoured by it, but perhaps watching all of these upper tier Allen titles mere days previously raised my standards a little too high. It certainly didn’t put me off exploring more unwatched titles from his hefty filmography though. Crimes and Misdemeanors was next up and I’d heard very good things about it, so expectations were high.

Crimes and Misdemeanors tells two stories. One sees happily married ophthalmologist Judah Rosenthal (Martin Landau) tormented by threats from his mistress Dolores Paley (Anjelica Huston) to tell his wife about their affair. Judah has grown weary of Dolores and realised he loves his wife Miriam (Claire Bloom), so he doesn’t want her to be hurt and leave him. When it all gets too much for Judah and the threats get more serious, the solution suggested by his mobster brother Jack (Jerry Orbach) is to have Dolores killed. The film’s second central story is that of Cliff Stern (Allen himself). He’s an unhappily married, unsuccessful documentary filmmaker who’s offered a chance to make some money making a film about his successful TV comedy writer brother-in-law Lester (Alan Alda). He hates the job, but is consoled by the fact that he meets a woman he falls madly in love with, Halley Reed (Mia Farrow). Having recently got divorced, she’s reluctant to start another relationship though. Undeterred, Cliff stays close to her as a friend and gets her involved with the more respectable documentary he’s trying to produce on the side, with the hope that she’d be swayed eventually into his arms.

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Occultober – Day 29 – Rosemary’s Baby

Rosemary’s Baby
A film that has stood the test of time better than most, Roman Polanski’s second film focusing on a woman slowly devolving into hysteria (the first being Repulsion), the success of Rosemary’s Baby in 1968 is paramount in the rise of the modern incarnation occult film in the 1970s. This is patient, if not entirely subtle filmmaking that also mark the vibe of the decade to follow.

In the first few moments of the film, there are enough portent signs and signifiers and waiting for the eventual reveal is a painful kind of bliss with only the soothing balm of Ruth Gordon and Sidney Blackmer’s performances, both goofy and slick (respectfully). I find it difficult to find fault with this rather unique approach, and the whole proceedings have a hell of a capstone.

But really, the first 15 minutes of the film is where it is at. That ‘seeking’ pan across the New York City skyline set to an off-kilter lullaby version of Que Sera Sera. Score rather than song is absent the lyrics and inspires dread rather than hope, but the question is nevertheless, “when I was just a little girl, I asked my mother what I would be…” The answer, is apparently the mother of Satan. If Doris Day can belt that song out in Hitchcock’s , surely it can be subverted here as an anthem for the woman who knew too little, too late.

I took a huge amount of pleasure in noir-staple character actor Elisha Cook Jr. fastidiously showing off the grand old apartment (of spook central) to the young married couple. His question – and the first actual line of dialogue in the film – is whether John Cassavetes’ character is a Doctor or an Actor. The film will feature many doctors (and more than a few midwives) who are indeed more actors than doctors. A stray scrap of paper is shown belonging to the former, quite deceased, owner of the apartment whose last act was to block a closet door on the thin shared wall of her creepy and nosy neighbors with a heavy wardrobe. It reads “I can no longer associate myself.” Perhaps a hint of Mia Farrow’s soon-to-be overwhelming paranoia and powerlessness. A magazine cover will later query, “Is God Dead?” Never has a film so front-loaded its purpose only to then draw out and tease the audience for nearly two hours as surely as Farrow’s body (and hairdo) slowly withers away. But then that kicker of a climax is as surprising as it is inevitable. This is Cinema of Masochism made with exquisite craft – and so many great Polanski films would follow.

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Cinecast Episode 296 – Praying at the Juno Temple

Without much going on in theaters currently, Andrew and Kurt take to the internet and discuss the current VOD release of The Brass Teapot starring Juno Temple and Michael Angarano. A quiet little 80s style suburban fable with a a dash of Dante, a sprinkle of The Great Recession and a dollop of light bondage. Andrew sorts out his security issues with the Google-machine and the video edition returns. All the better to see you with (my dear) as we delve further into the Orson Scott Card boycott – which is a do-over of the Polanski debates had on previous Cinecast shows. Andrew finds pleasure in needling our frequent co-host, Matt Gamble, when he can’t defend himself. The Watch List is also Polanski heavy as well TV-talk with disparate subjects ranging from “Game of Thrones” season 2, and the long running medical dramedy with Zach Braff in “Scrubs.” We delve into the 1% defense examined in Richard Gere’s Arbitrage and sad-sack Stallone in James Mangold’s Copland.

As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


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Full show notes and VIDEO version are under the seats…
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