Introduction
The depths of human morality, the nature of guilt, and the existence of God are the topics explored in Woody Allen’s 1989 film Crimes and Misdemeanors. Eyes are employed as symbols for many concepts throughout the movie, from the all-seeing eyes of God to the protagonists’ blindness. A series of related symbolic potentials is suggested by using eyes as a symbol, which is inconsistent and evolves throughout the movie. The film’s use of the motif of eyes as a multifaceted metaphor underscores the connection between morality and justice, as well as the moral blindness that afflicts various characters.
Symbolism of Eyes in the Film
Crimes and Misdemeanors is a study of two opposing worlds: that of the failed but morally upright documentary filmmaker Cliff Stern and that of the prosperous but ethically dubious ophthalmologist Judah Rosenthal. The movie’s opening shot is a close-up of a pair of eyes, setting the stage for the theme that will be explored throughout the story. Thus, it is a movie that “relies heavily upon eye imagery” (Vipond 99).
At the same time, it is a film with “the classic Woody Allen character” who is “driven by desires” (Killmister 730). As a result, the viewers can see complex interactions and the intense imagery built by using the symbol of the eyes. That is why the occupation of one of the main characters is “no accident” (Vipond 99). It helps to reveal the main ideas and messages implied by the director.
As the movie progresses, it becomes evident that the eyes represent morals, judgment, and perception, in addition to physical sight. The film is a masterwork that delves into the complexities of human nature and the challenges people face in reconciling their moral principles with their actions. Professor Levy says one of the lines important for understanding Allen’s idea: “We define ourselves by the choices we have made. We are, in fact, the total of our choices” (Crimes and Misdemeanors). Balancing moral principles implies making choices that reveal a person’s character as good or bad. At the same time, the imagery of eyes, making choices, and being judged is closely tied to religious issues peculiar to Allen’s movies and can be found in this one.
Omniscient God
Discussion of the role of God and religion is one of the essential themes discussed by Allen. In the movie, characters frequently discuss religion and religious themes, and the symbol of eyes serves to facilitate this discussion. For instance, the following dialogue can be found in the film:
Ben: It’s a human life. You don’t think God sees?
Judah Rosenthal: God is a luxury I can’t afford. (Crimes and Misdemeanors)
Later, Rosenthal adds:
Rosenthal: I remember my father telling me, “The eyes of God are on us always.” The eyes of God.” (Crimes and Misdemeanors)
In such a way, the symbol is important and can be found throughout the movie. By using this metaphor, Allen manages to “set up the major philosophical questions of the film” in the first scenes (Vipond 100). It evidences Allen’s “obsessive preoccupation with the existence of divinity” and the desire to discuss this topic. (Precup 131). Allen’s exploration of religion is “far more complex” than that of other movies and often employs specific symbols (Precup 131). For this reason, eyes are essential for understanding the movie.
Eyes represent various concepts at various points throughout the film. Rabbi Ben, the movie’s moral compass, represents the all-seeing eyes of God. He is blind, but it is not a physical blindness; instead, it stands for his inability to recognize the wrongdoings in the world. In the dialogue with Judah, he states:
Rabbi Ben: But the law, Judah. Without the law, it’s all darkness. (Crimes and Misdemeanors)
This metaphor emphasizes the importance of the eyes, which serve as the determinant of good or bad things, not just physical vision. Moreover, Ben is the only figure aware of Judah’s crime, yet he is unable to stop it. This implies that morality is not a fixed concept and that even people who are meant to be society’s moral mediators have flaws. Notably, the concept of God’s judgment eyes establishes the mood for the movie and emphasizes the theme of eyes, which is its central motif (Crimes and Misdemeanors). In this sense, the theme is employed to imply that morality is an absolute force that underlies all human behavior rather than a human invention.
Poor Vision
The film’s numerous characters’ myopia and blindness are explored using the metaphor of eyes. Successful doctor Judah Rosenthal is having an affair with Dolores Paley, a flight attendant. Judah resolves to have Dolores assassinated after she threatens to tell his wife about their relationship and harm his reputation. Judah is plagued by the thought of Dolores’ accusingly glaring eyes throughout the movie. These judging eyes stand in for Judah’s remorse and internal moral struggle due to his actions. The dialogue from the movie helps to understand why the struggle is so complex for Judah:
Dolores Paley: Do you agree that the eyes are the soul’s windows?
Judah Rosenthal: Well, I believe they are windows, but I’m not sure it’s the soul that’s there. (Crimes and Misdemeanors)
In this way, Judah realizes that there is a soul and it can hurt, while Dolores’s eyes remind him of what he has done. Thus, the movie argues that individuals are frequently deceived by their desires and cannot perceive the truth, even when it is evident, thereby illustrating the eye motif.
Delores’ eyes are a metaphor for yet another type of moral blindness. They are characterized as a “dead, soulless black void,” implying that she is morally vacant and spiritually dead (Crimes and Misdemeanors). Moreover, the idea of moral blindness and the inability to see is supported by the transformation of dreams into painful experiences. After the murder, Judah’s “dream turns into a nightmare” (Vipond 101). This supports the importance and metaphor of moral blindness leading to suffering.
Lack of Morality
In his movie, Woody Allen employs the metaphor of the eye to explore the complexities of morality and how the presence or absence of external moral guidance often influences people’s behaviors. At the same time, it employs some Shakespearean motifs to strengthen the message. For instance, Judah is paralleled with Macbeth as they both “commit terrible acts and are tormented by their consciences” (Jolley 73). However, Allen’s movies are not simple adaptations; instead, they are “original treatments of themes that appear in Shakespeare’s plays” (Jolley 73). It means that the classic meaning of the eyes symbol is used in new settings to engage viewers and translate the central message to them.
Conclusion
In conclusion, Woody Allen employs the motif of eyes in Crimes and Misdemeanors to examine the complex nature of morality and how the presence or lack of external moral guidance often influences individuals’ actions. Judah, Cliff, Ben, and Dolores are among the characters that Allen uses to explore various dimensions of the human experience and how individuals navigate their own moral landscapes. The film’s central theme is further supported by the judgmental eyes of God, several characters’ allusions to myopia and blindness, and Delores’ soulless, lifeless eyes. As a result, Allen’s film explores the essence of morality and justice in the human experience, creating a dramatic and thought-provoking narrative through symbolism.
Works Cited
Crimes and Misdemeanors. Directed by Woody Allen, Metro Goldwyn Mayor, 1989.
Jolley, Susan Arpajian. “Connecting to Conscience: Shakespeare and Woody Allen.” English Journal, vol. 98, no. 3, 2009, pp. 73–79.
Killmister, Suzy. “The Woody Allen Puzzle: How ‘Authentic Alienation’ Complicates Autonomy.” Noûs (Bloomington, Indiana), vol. 49, no. 4, 2015, pp. 729–47. Web.
Precup, Amelia. “‘If Only God Would Give Me Some Clear Sign!’ God, Religion, and Morality in Woody Allen’s Short Fiction.” Journal for the Study of Religions and Ideologies, vol. 14, no. 40, 2015, p. 131.
Vipond, Dianne. “Crimes and Misdemeanors: A Retake on the Eyes of Dr. Eckleburg.” SweetStudy. Web.