Woody Allen Is a Good Progressive so Let’s Just Let the Whole (Alleged!) Kiddie-Touching Thing Slide

An artist and his art are two different things. There are a great number of people throughout history who have been relatively horrible human beings—abusive, bigoted, etc.—yet relatively brilliant artists. If we started judging every artist’s art by the quality of the artist’s character, we’d be much poorer, culturally speaking. This is why I’ve always tried to keep my opinions about artists and judgment of their art separate. It’s why I’ve always done my best to reject the politicized life, a key component of which is the idea that we can only love art created by artists we agree with.

All of which is to say that I’m pretty comfortable with the argument that Woody Allen’s films should be considered apart from Woody Allen’s character. Even for a filmmaker as inextricably linked to his work as Allen, the film and the filmmaker are separate entities. They exist apart from each other. Manhattan and Annie Hall and Midnight in Paris work or do not work on their own, regardless of how you feel about Woody Allen.