Can a murderer live a happy life? Woody Allen’s dark masterpiece explores the question.

Can a murderer live a happy life? Woody Allen’s dark masterpiece explores the question.
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In short: In the 1989 film Crimes and Misdemeanors, a successful ophthalmologist orchestrates a hit on his mistress to protect his reputation. While he expects divine retribution, he finds that life simply continues. It is a chilling, existential examination of whether morality is a universal truth or a human invention.

The film follows two parallel narratives that intersect only at the end. Judah Rosenthal, a respected doctor, faces the ruin of his marriage and career when his mistress, Dolores Paley, threatens to expose their affair and his past financial crimes. Driven by desperation, he enlists his brother, a gangster, to have her murdered. Expecting to be crushed by guilt or divine judgment, Judah is shocked to find that he can return to his comfortable life, as the crime is blamed on a drifter.

Contrasting this is the story of Cliff Stern, a struggling documentary filmmaker who despises his successful, pompous brother-in-law, Lester. While Cliff attempts to capture the life of a profound philosopher, Professor Louis Levy, he watches his own life unravel as his marriage fails and the woman he loves chooses the man he loathes. The film’s conclusion brings these characters together at a wedding, where Judah’s moral crisis has resolved into a cynical peace, while Cliff remains dejected and isolated.

The film’s philosophical weight is anchored by the voice of Professor Levy, who suggests that the universe is indifferent and that human beings must create their own meaning through love. This perspective challenges the traditional moral framework of Dostoevsky’s Crime and Punishment, which the film explicitly evokes. By juxtaposing the doctor’s successful evasion of consequences with the filmmaker’s failure to find meaning, the film forces the audience to confront uncomfortable questions about the value of conscience and the reality of justice in a world that may not be watching.

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