crimes and misdemeanors

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Judah Rosenthal is a prosperous ophthalmologist, a father, a husband and a generous donator to charity: he has all the traits of a noble man, but has a secret. He has had an affair for the past two years, and now the hysterically in love woman is threatening to expose him to his wife and to the rest of the world. Crushed by fear and torment, Judah resolves to have her murdered. Despite the brutality of his choice, it is not a simple task for him, even though he has always been skeptical towards the Jewish traditions he learned from his father and being himself a man of science. Murder had never been taken into consideration before now. It is the sin of sins, the highest depravation of respect to his victim – how could he do it? And if he did, how could he possibly live with it?

This fundamental question runs throughout the 1989 film Crimes and Misdemeanors in which the director Woody Allen also challenges his audience to consider whether they would commit murder if they knew they would get away with it. In order to shed light on the question of morality though, it is necessary to understand its very nature.

One of the innumerous aspects philosophical thinking is concerned with is the question of morality. It goes back in time until Aristotle, who can be considered one of the most profound thinkers in the history of moral philosophy thanks to his theory of virtue. In Aristotelian terms, Joseph Kupfer defines virtues as ‘excellent qualities of individuals that make them valuable to themselves and to other people. […] Virtues are necessary attributes for happy common life because we need to be able to rely on others, as well as on ourselves, in order to flourish’ (1999: 23). Essentially, to act virtuously benefits not only to one...

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... Crimes and Misdemeanors goes against the stream of films that portray a conventional moral structure. Judah does not get punished and Cliff does not get the girl, as would commonly happen in the real world. Judah finds out no one will punish him unless he punishes himself, so he chooses to overcome his burden and give his life a new meaning. As Levy pointed out, it is only we that give meaning to the indifferent universe, and so goes for the films relation to the philosophical approaches it refers to. Judah might say he finally got his life back, but did he really? As Wartenberg puts it, ‘film allows us to see the complexity of our moral lives in a manner that allows us to more fully grasp morally significant aspects of it’ (2007: 98), and Crimes and Misdemeanors excellently fulfills this task by provoking, stimulating and contradicting our moral thinking too.

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