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Love and Death is considered a transition film between the “early, funny” Woody Allen pictures of the late 60’s and early 70’s and his more philosophical, character driven films that dominated his work in the late 70’s and 80’s. To the general public, Annie Hall is considered the turning point in Woody Allen’s catalogue due to the focus on characters rather than constant gags, but Love and Death is the first film to signify major changes in his oeuvre. Love and Death is the first Woody Allen film to delve into deep philosophical arguments and discussions on life, god, and death that would become motifs in Allen’s later films.

The big difference is that in this film, the discussions on philosophy are brought up in a humorous, light manner rather than the typical manner of two men brooding while stroking their grey and distinguished beards. The nature of the philosophical arguments between Boris (Woody Allen) and Sonia (Diane Keaton) is humorous, but the topics they broach are very serious as they discuss the existence of god and whether it is justifiable to kill an evil man. These subjects come up in numerous Woody Allen movies. Love and Death’s over the top humor and absurdity is a way to ease the viewer into the Woody Allen philosophy of life.

One of the early conversations in the film has Boris and Sonia discussing whether god exists.

The scene quickly goes down a rabbit hole of philosophical babble speak. 11 years later, there is the scene in Hannah and Her Sisters in which Woody Allen’s character has a similar discussion about living in a godless universe at the end of which he comes to the conclusion to live and enjoy life.

The style is drastically different, but the arguments and terms are the same. His staunch atheism makes another noteworthy appearance in Stardust Memories (1980) where he proclaims “to you I’m an atheist; to god, I’m the loyal opposition”. Love and Death is the first film to delve in deeply to the idea of atheism and living in a godless world.

In Love and Death, Woody Allen explores the idea of a justifiable murder. Boris and Sonia wrestle over whether or not they should kill Napoleon. Like the discussions of atheism portrayed earlier, the style is comedic, but the dialogue is meaningful.

This topic of whether murder is justifiable or whether one can commit murder reoccurs in Woody Allen’s films Crimes and Misdemeanors (1989), Match Point (2005), and his latest film Irrational Man (2015). Crimes and Misdemeanors features a similar dilemma on whether to murder another, but this time the crime is committed and unlike in Love and Death the real murderer gets away scot free.

If anything this hammers down Woody Allen’s belief that we live in a random, cold, and meaningless universe. Love and Death represents a filmmaker in transition as the film focuses on philosophical questions while still proposing them up in his typically funny manner.