After setting out a few general guidelines for discussing theological issues in manifestly secular art forms, this study examines several Woody Allen films in turn, from the earlier comedies like Bananas and Sleeper to the later, more complex works like Hannah and Her Sisters and Crimes and Misdemeanors. Throughout his career, a clear line of development can be traced in his treatment of women and romance, of life and death, and of his awareness of a moral structure in the universe. Despite Allen's profane treatment of these topics and several others, his work from year to year shows a gradual transformation in his dealing with the sacred dimensions of his characters and their world. He wrestles with his Jewish cultural and religious heritage, but he can never escape it.
