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Woody AllenKamera:
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Martin Landau, Woody Allen, Alan Alda, Claire Bloom, Caroline Aaron, Anjelica Huston, Sam Waterston, Mia Farrow, Jerry Orbach, Jerry Zaks, Frances Conroy (mehr)Inhalte(1)
Cliff Stern (Woody Allen) ist ein idealistischer Filmemacher, bis er das lukrative Angebot erhält, das schönfärberische Porträt eines aufgeblasenen Fernsehproduzenten (Alan Alda) zu verfilmen. Judah Rosenthal (Martin Landau) ist eine Stütze der Gesellschaft, bis seine Ex-Geliebte (Anjelica Huston) seine Ehe zu zerstören droht. Und so wie Cliff zwischen seiner Integrität und dem Verrat an seinen Idealen wählen muss, so Judah zwischen dem Rat seines Rabbiners und dem mörderischen Vorschlag seines mafiösen Bruders (Jerry Orbach). Beide stehen vor moralischen Entscheidungen, die unwiderruflich sind und ihr Leben für immer verändern werden... (MGM Home Entertainment)
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In diesem Film gibt es kein Feuerwerk von Witzen oder großartigen Regie-Ideen. Dafür ist Verbrechen und andere Kleinigkeiten sehr intim, menschlich und glaubhaft. Man spürt sehr intensiv, was der Film sagen möchte. Das Leben ist nicht immer lustig. Sehr oft ist es eine richtig niederträchtige Bestie, die Menschen dazu zwingt, Dinge zu tun, die sie immer für unvorstellbar gehalten haben. Das zeigt der Film vor allem an dem Beispiel von zwei sehr unterschiedlichen Männern in verschiedenen Situationen. Einen stellt ausgezeichnet Martin Landau dar und den anderen der Drehbuchautor/Regisseur selbst. Hervorragend war auch Alan Alda, der eine völlig andere Figur als in dem drei Jahre älteren Film Sweet Liberty spielt, wo ihn als Autor der Filmvorlage der Regisseur Michael Cane quält. Und er hat sie anscheinend genossen. ()
The darker Woody Allen is different after all. He is a man who turns more inward and explores the darkness that may lie within. And it's not just his inner self; it's the inner self of all of us. But it's still Woody Allen, who is still extremely good and will keep you entertained. Just in a different way, and perhaps it will make us think about it a little more. ()
A waste of talent. Normally I would have thought that a serious satire containing themes of murder and tragic love would flourish in Allen's hands as much as a futuristic sci-fi or romantic comedy, but the story is full of empty dialogue and descends into a whirlwind of philosophical drivel that doesn't fit the whole at all. I appreciate what Allen is trying to convey, but I’ve never seen him this boring before. And not even all those great actors can change that. 60% ()
You've seen too many movies. I'm talking about reality. I mean, if you want a happy ending, you should go see a Hollywood movie. The rating is more like 85%, which would mean a remarkable work for any other director, but amidst the collection of Woody Allen's brilliant gems, Crimes and Misdemeanors unfortunately gets lost easily, and for one reason only. This time, he decided a bit unfortunately to divide the serious and light mood into two interconnected storylines, where the humorous one works, thanks to Woody's classic neurotic-romantic touch and the classic fateful woman beautifully portrayed, of course, by Mia Farrow, as well as the charming Alan Alda in their first collaboration. The problem remains in the serious part, where the director unexpectedly stumbled in his choice of the actor for the main role – Martin Landau is a fine actor, but he disappointed me heavily here, because he overacts and tries to show Judah's emotions too literally. I was rather surprised by how much my beloved Match Point ended up stealing from that thriller part, and yet it is filmed so much better and with more urgency and emphasis. The different crimes and misdemeanors, in that sense, don't work too well. ()
Traditionally, I had a great time with Woody's neurotic jokes and unbelievable word constructions. The best jokes were about pistachios and coprophilia. This film deviates from the norm by dividing into two lines - criminal and comedic. Something similar appears later in Woody's film Melinda and Melinda. ()
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