In Woody Allen's Crimes and Misdemeanors (1989), two parallel stories revolve about a central conflict portraying the human dilemma of making moral or spiritually guided choices versus exercising free will. Within this conflict lie issues of the unfairness of life, marital infidelity, jealousy and guilt. The parallel lives of the two main characters reflect two different approaches in making life choices yet result in similarly empty outcomes. Mise-en-scene relates significantly to the portrayal of the conflict and the consequences of the choices made.

At a dramatic level is the story of Dr. Judah Rosenthal, a wealthy, respected, Jewish ophthalmologist, who is married but having an affair with a flight attendant. Pressure from Dolores, his girlfriend, forces him to choose ending the affair in a moral but damaging way to his marriage (telling his wife) or engaging in immoral, illegal means to resolve the dilemma (murdering Dolores). This story line represents the "crimes" aspect of the movie's title.

At a more comedic, but no less conflictual level, is the story of Clifford Stern, a highly principled documentar

Other sets are used in flashbacks to Judah's childhood to assist the viewer in gaining an understanding of the religious and moral upbringing that he and his brother experienced. Sets depicting the synagogue Judah attended as a boy and his family's celebration of a Jewish holiday around the dinner table provide the viewer with an excellent sense of the severity of the disconnection between Judah's exposure to the belief that wrongdoing will be punished and his decision to have his girlfriend murdered. The religious sets effectively convey the depth of Judah's guilt brought by making a decision which openly defies religious and parental teachings. The set depicting the floor plan of Judah's childhood home, which he visits as he struggles with a decision whether or not to confess to the murder, helps create an image for the viewer of the life Judah left as he moved toward moral depravity.

Probably the most significant prop relating to the central conflict in both story lines is the telephone. Throughout the narrative, the telephone is used to prompt the resolution of conflict and to communicate the consequences of choices made. Clifford learned by telephoning Halley that she had invited Lester to her apartment late at night. Clifford's own romantic hopes were dealt a major setback. Clifford also learned by checking his telephone voice messages that his most revered philosopher/idol Professor Levy had committed suicide, apparently deciding that not being loved warranted ending one's life. For Judah, threatening telephone conversations initiated by his girlfriend were the deciding factor in his decision to have her murdered. A telephone call from his brother Jack broke the incomprehensible news to him that the deed had been completed and that "the matter" was now resolved.

The appearance of eyes as seeing what occurs in life appears throughout the movie. Judah himself wears large, black glasses which draw attention to his eyes. Also, after Judah's mistress has been murdered, he returns to the scene, finding her dead on the floor with open eyes staring at him blankly. Additionally, his profession of opthalmologist and interaction with the rabbi focus on eyes. In this case, the rabbi is gradually going blind, a circumstance that suggests the gradual decline of moral and ethical responsibility of Judah as the movie progresses.

A primary conflict revolves about the interrelationships among character, ethics, circumstances, and emotion that affect the choices we make. These factors are primarily reflected through the actions of Judah Rosenthal, Cliff Stern, Lester (Alan Alda), the rabbi (Sam Waterson), and Halley Reed (Mia Farrow).

Some common words found in the essay are:
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Approximate Word count = 2915
Approximate Pages = 12 (250 words per page double spaced)