Abstract
The author considers the films by American scriptwriter and director Woody Allen, connected with the traceable over the course of his creative activity theme of crime and punishment, demonstrating cross-cutting motives connected with novels of F.M. Dostoevsky, first of all The Brothers Karamazov and Crime and Punishment. Alongside with analysis of certain changes in a way of Allen’s tackling of semantic sense bearing conceptions of this filmic body frame treated by the contemporary American author and represented in characteristic of his narrative manner intertextuality, convergence of genres and styles, the article deals with the major discursive vehicles intercepted from the Russian classic as distinguished by M.M. Bakhtin: the great dialogue as the pivotal characteristic of polyphony of his novels, personages’ duplicity and carnivalization of the action.
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