Customer Reviews

Anatomy of a Murder

5 star:		(72)
4 star:		(13)
3 star:		(5)
2 star:		(10)
1 star:		(7)

 

 

Based on the famous Traver novel, ANATOMY OF A MURDER is an extremely complex film that defeats easy definition. In some respects it is a social document of the era in which it was made; primarily, however, it is a detailed portrait of the law at work and the machinizations and motivations of the individuals involved in a seemingly straight-forward case--and in the process it raises certain ethical issues re attorney behavior and the lengths to which an attorney might go to win a case.

Paul Biegler (James Stewart) is a small-town lawyer who has recently lost a re-election for the position of District Attorney and who is down on his luck--when a headline-making case involving assault, alleged rape, and murder drops into his lap. As the case evolves, there is no question about the identity of the killer. But a smart lawyer might be able to get him off just the same and redeem his own career in the process, and with the aid of an old friend (Arthur O'Connell) and his formidable secretary (Eve Arden), Biegler sets out to do precisely that. Opposing him in the courtroom is Claude Dancer (George C. Scott), a high powered prosecutor who is equally determined to get a conviction... and who is no more adverse to coaching a witness than Biegler himself. The two square off in a constantly shifting battle for the jury, a battle that often consists of underhanded tactics on both sides.

The performances are impressive, with James Stewart ideally cast as the attorney for the defense, Ben Gazzara as his unsavory client, and a truly brilliant Lee Remick as the sexy and disreputable wife who screams rape where just possibly none occurred; O'Connell, Arden, and Scott also offer superior performances. The script is sharp, cool, and meticulous, the direction and cinematography both effective and completely unobtrusive, and the famous jazz score adds quite a bit to the film as a whole. Although we can't help rooting for Stewart, as the film progresses it seems more and more likely that Remick is lying through her teeth and Gazzara is as guilty as sin--but the film balances its elements in such a way as to achieve a disturbing ambiguity that continues right through to the end. If you expect a courtroom thriller with sudden revelations and twists you'll likely be disappointed in ANATOMY OF A MURDER, but if you want a thought-provoking take on the law you'd be hard pressed to find one better. Recommended.

Otto Preminger, who produced and directed this fine courtroom drama starring James Stewart, Lee Remick, George C. Scott and Ben Gazzara, had a knack for translating best-selling mid-cult novels to the screen (The Man with the Golden Arm (1955); Exodus (1960); Advise and Consent (1962) and others) usually in a nervy manner, sometimes heavy-handed, sometimes pretentious, but always worth a look. Part of his secret was star power. Like Hitchcock, he liked to go with big names supported by fine character actors. And part of his secret was his long experience in both the theater and films going back to the silent film era. He knew how to put together a movie. But more than anything it was his near-dictatorial control over the production (something directors seldom have today, and never in big budget films--Preminger's were big budget for his day) that allowed him to successfully capture the movie-going audience at midcentury.

This and Laura (1944) are two of his films that go beyond the merely commercial and achieve something that can be called art. Seeing this for the first time forty-three years after it was released I was struck by the fine acting all around and the sturdy, well-constructed direction. James Stewart's performance as the Michigan north country lawyer Paul Biegler might shine even more luminously than it does except for a certain performance by Gregory Peck three years later as a southern country lawyer in the unforgettable To Kill a Mockingbird (1962). Lee Remick, in a frank, but imperfect imitation of Marilyn Monroe, co-stars as Laura Manion, the wife of army Lt. Frederick Manion (Gazzara) whom Bielger is defending on a murder charge. The defense is temporary insanity because the man he shot raped his wife. Bielger slyly gains sympathy for his client by deliberately allowing it to come out that Laura is sexy and flirtatious enough to drive any man crazy. Indeed, he tricks the prosecution into doing his work for him. George C. Scott plays Claude Dancer, a big city prosecutor, with snake-like precision while Gazzara manages to combine introspection and cockiness as the young lieutenant. Fine support comes from Eve Arden (best known as Our Miss Brooks on TV and in the movie of that name) as Biegler's loyal secretary and Arthur O'Connell as his alcoholic mentor. Kathryn Grant, who gave up a promising film career to marry Bing Crosby and have children, has a modest role as the murdered man's daughter.

I've seen many courtroom dramas, some real, some fictional, since this film first appeared, but I have to say it stands up well. The action (for the most part) feels realistic and the tension is nicely created and maintained. The resolution is satisfying and the ending is as sly and subtle as any country lawyer might want. Incidentally, if this movie had more total votes cast at IMDb, it would rank in the top one hundred of all time, which is where it belongs.

See this for James Stewart whose easy, adroit style under Preminger's direction found full range. Although he gave many fine performances, I don't think Stewart was ever better than he was here.

The original aspect ratio of this film is 1:85:1 (see IMDB).

The US DVD box from Columbia Tristar Home Entertainment contradicts this, saying:
"This film is presented in a FULL SCREEN VERSION which preserves the original theatrical aspect ratio, approximately 1:33:1."

In civil society, this may be called false advertising. The box does not contain what the box says it contains.

The DVD itself warns as it begins playing that the film "has been modified to fit your TV". In other words, it was re-edited in the 80s or 90s by another (anonymous) director/editor using the notorious 'pan and scan' technique, which cuts off the right and left edges of widescreen films, and adds new camera movements and re-scales some images to make certain that the action remains on screen in the new, square-ish ratio.

Amazon's Internet Movie Database correctly identifies the aspect ratio. Columbia distributes THAT version in Europe (which is why when you search for this film on Amazon, the European release comes up too). If you buy that version in the US, you'll pay a little more, and you'll have to use a region-free dvd player to view it. Here's the link for that version:

Anatomy of a Murder European DVD

Your second option is to buy this movie from Amazon Unbox, which presents it in its correct aspect ratio:

Anatomy Of A Murder from Amazon Unbox

Your third option is to wait on buying this until they release the original.

This film hooks you in the first minute with Saul Bass' brilliant titles and Duke Ellington's music, and then has you caught for the duration in the next few scenes; the dialogue is sharp and intelligent, and at the age of 50, Jimmy Stewart gives one of the best performances of his illustrious career, as Paul Biegler, an attorney who would rather be fishing than getting fees for his work. Stewart is so natural, so real, and so immensely likable. He's the kind of guy you wish you could have in your family, but wily enough to argue a good defense in court.

Lee Remick has just the right amount of provocative sensuality as Laura Manion to make one wonder what exactly happened on the "fateful night" in question.
After playing Southern belles in both "A Face in the Crowd" (1957) and "The Long Hot Summer" (1958), Remick was offered the role of Laura because Lana Turner, who was supposed to play the part, refused to wear an "off-the-rack" wardrobe, and wanted dresses designed by Jean Louis (hardly what a Army wife would be wearing). It was a big break for Remick, and she makes the most of it.

The entire supporting cast is superb: Ben Gazzara as the intense Lt. Manion, Arthur O'Connell as Biegler's assistant and friend, Eve Arden as Biegler's loyal secretary. George C. Scott is Dancer, the Assistant State Attorney, and Joseph N. Welch, who gained fame for being the Special Counsel for the Army in the Army-McCarthy Congressional hearings, is a delight as Judge Weaver. Duke Ellington makes a cameo appearance as Pie Eye, and even Muffy the beer drinking dog does a great job. Otto Preminger's direction flows at a lovely pace, with a balance between the dramatic tension and thoughtful scenes tinged with humor.

There were Oscar nominations for Best Actor, Supporting Actor (both O'Connell and Scott), Picture, and Editing (all losing to "Ben Hur"), as well as Sam Leavitt's beautiful b&w cinematography (lost to "The Diary of Anne Frank") and Wendell Mayes marvelous screenplay adaptation of the Robert Traver best-seller (lost to "Room at the Top"), proving that 1959 was a great year at the movies.
I love courtroom dramas, and this is one of the best ever made; it's unpredictable, with a very authentic feel to it, perhaps because the author, using the pen name of "Robert Traver", was actually Michigan Supreme Court Justice John D. Voelker.
Total running time is 160 minutes.

A couple of years ago, there was a poll conducted among legal professionals (lawyers, judges, etc.) on what they felt was the best and most accurate courtroom picture ever made. "Anatomy of a Murder" was the unanimous choice. Those seeking to enter the legal profession will certainly enjoy this film, but so will those who have a love for classic Hollywood films. Otto Preminger was one of the best directors working in the Hollywood when the studio system began to collapse, and this is probably his best film.
Tightly constructed with a superb cast and crisp writing, this is mainstream entertainment of the highest order.

Never one to let censorship interfer with reality, Preminger often tackled controversial subjects without sanitizing it. His groundbreaking films no longer seem controversial today, but because he never flinches from his subject matter, his films tend to date better than most of the period.

People have complained that this DVD is pan and scan. While it is full frame, it's not actually pan and scan. The film was originally photographed in a way that captured a full frame image, but was intended to be shown in a 1.85:1 aspect ratio with the aid of a matte. As such, the film was composed for this aspect ratio. What they did for this DVD is transfer the entire image, exposing parts of the frame that was never meant to be shown. As a result, you have massive headroom in some shots, much more than originally intended, and the added open space ruins the tight compositions that were intended for each shot.

Of course, there are people out there who could care less and just want to fill their TV screens. However, if you really want to see the film in an appropriate setting, seek out the import version of this DVD at amazon.co.uk, which has been matted to the appropriate 1.85:1 aspect ratio.

Best trial-movie ever made--perfect of its kind. Set the standard for the thousands of pale imitators (including TV shows like *Law and Order*) that have followed it. What remains fascinating about this 1959 movie, what keeps it from being dated, is its utter ambivalence towards ALL the characters, perhaps especially the ostensible "heroes": we have James Stewart as a small-town lawyer who'd just as soon listen to his jazz records as continue his law career . . . we have Arthur O'Connell as his drunken mentor who gets in car crashes . . . we have Eve Arden whose one (and apparently only) concern is the status of her next paycheck. And then there's Ben Gazarra and Lee Remick as one of the most unlikeable married couples ever put on screen. (A good title for this movie could've been: "When Bad Things Happen to Bad People".) Perhaps the only person one roots for is the judge, played by real-life judge Joseph Welch who stood up to Joe McCarthy in the Army Hearings fracas. Incidentally, I don't think rape has ever been so dispassionately presented in movies or TV as here. Nary a tear is shed. Odd. Finally, we can also enjoy James Stewart in one of his very best performances (this was his favorite film, along with *It's a Wonderful Life*). As for the DVD, Columbia did nothing particularly special, but they didn't screw it up, either. Ellington's jazz score has been remastered to very nice effect. Picture is crisp (standard ratio). Highest recommendation.

One of James Stewart's greatest roles and movies, Otto Preminger's Anatomy Of A Murder, has him as Paul Biegler, former public prosecutor who spends most of his time fishing. That is, until his boozing partner Parnell McCarthy tells him about the Manning incident. A certain Lieutenant Frank Manning shot the owner of a bar, Barney Quill, five times after learning that the latter raped his wife. That's quite a change in fortunes, according to his secretary Mayda, who tells him, "What appointments? People will think you have migrated into the woods."

Biegler has a rough one. There are four options to get Manning off the hook: 1) Quill committed suicide, 2) Manning didn't do it, 3) he was legally justified, and 4) it was an excusable killing. Biegler can't use #3 because of the time element--Manning killed Quill an hour later, which makes it premeditated murder.

Then there's Laura, Manning's luscious wife, described by Mayda as "soft, easy, the kind of woman men like to take advantage of, and do." one of those women men like to show off, but may get jealous if too much attention is paid to her. Laura sticks by her husband all the same.

The courtroom scenes become impassioned with the usual objections called by both sides, to the point that the weary but overly patient judge tells a smart-aleck witness, "Just answer the question. The attorneys will provide the wisecracks." The best one comes from Biegler at the expense of an expert witness there to observe. "Is he here to observe the constellation of Taurus or the life and times of a bumblebee?" At least it gets a laugh in the courtroom.

Apart from Stewart, Arthur O'Connell, best known as the older cowboy in Bus Stop, does wonders as Parnell. Lee Remick turns in a sexy but assertive performance as Laura. This was also one of George C. Scott's early roles. He is Claude Dancer, assistant attorney general from Lansing, assisting the prosecution.

This movie gained controversy for the then-considered graphic description of the assault in the courtroom, but also when Laura tells Biegler that Quill "tore my panties off." In fact the Hays Code denied the picture a censors certificate, but the Supreme Court wisely permitted the release of the film in 1959.

Duke Ellington's mellowed music serves as a cooling off after the heated court sessions. Duke himself appears as Pie Eye, piano-playing leader of a band, and he and Stewart share a few bars together.

Eve Arden's tart lines are in plenty supply: "If this refrigerator gets any more fish, it'll swim upstream and spawn all by itself."

Parnell has a great reflective soliloquy on the justice system while Paul plays the piano. "Twelve different minds, twelve different hearts, twelve different walks of life, twelve sets of eyes, ears, shapes and sizes, are asked to judge another human being as different as they are from one each other. In their judgment, they must become of one mind, unanimous. It must be one of the miracles of man's disorganized minds that they can do it." Biegler's attempts to do that is what this movie is about.

This 1959 courtroom drama starring the incomparable Jimmy Stewart is one of my favorite Stewart films. Jimmy's portrayal of a defense attorney is spot-on perfect here, in my view.

There's a great supporting cast in force here as well, including Geoge C. Scott, Ben Gazzara, Arthur O'Connell, Eve Arden (hilarious, as always, in the role of Stewart's secretary), Murray Hamilton, Orson Bean, and the always-fetching Lee Remick (whose alluring quality is undeniable in this motion picture).

Keep an eye open for Howard McNear (Floyd the Barber in "The Andy Griffith Show") as a witness. It's quite humorous--and maybe even a tad bit unsettling even--to hear Floyd Lawson on the witness stand, speaking of sexual matters. Mayberry-ites would gasp in shock & horror I imagine. LOL.

Clocking in at a very lengthy 160 minutes, the film never drags. It moves at a snappy-enough pace to keep our interest the whole way, with a nice combination of scenes both inside and outside the courtroom.

There's an outstanding Duke Ellington score to propel the action, and as a bonus on the DVD edition, there's a perfectly-fantastic Photo Gallery section of stills from the film, underscored by Ellington's music from the movie. This is the best and classiest "Photo Gallery" extra you're likely to encounter on any DVD product as of this date.

Picture quality on the DVD looks just fine here. Aspect ratio is 1.33:1 (Full Frame), which I know irks the "Widescreen Only" crowd. However, from all the info I can gather, the 1.33 ratio IS indeed the Original Aspect Ratio for this film. So, it's OK by me, if this is the case.

If "Anatomy Of A Murder" is not currently in your DVD collection, you should probably be taken to court by lawyer Stewart for overlooking this fine motion picture experience. Get it now -- before Jimmy comes after you with a subpoena. :)

Anatomy of a Murder (Otto Preminger, 1957)

To call Anatomy of a Murder the definitive courtroom film is, perhaps, not going quite far enough. Sure, there had been others, and there are certainly other classic courtroom dramas, but Anatomy of a Murder seems to be the basis for the outpouring of courtroom films and TV shows we have today; the bickering of the lawyers, the badgering of the witnesses, the bamboozling of the jury.

The plot is very straightforward, compared to Law and Order or CSI: a man (Ben Gazzara) kills his wife (Lee Remick)'s rapist. A down-on-his-luck lawyer, Paul Biegler (James Stewart) is handed the case soon after he lost the county prosecutor election to Claude Dancer (George C. Scott). Biegler takes the case, as much to get one up on Dancer as for the case itself, but while things, as Biegler believed, are not as open-and-shut as they seem, there's far more to the case than he originally thought, and none of it seems to be on his side.

It should go without saying that courtroom-drama-TV-show fans should consider this a must-see, but even if you never once watch Jerry Orbach flip a badge or William Petersen crack wise, this is a bang-up movie. The bast are phenomenal, every last one of them, and Wendell Mayes' script (adapted from Robert Traver's novel) is top-notch. Nowadays, the direction looks very familiar; that's because it's been done so much since. Despite that, however, the film still looks fresh and exciting. (My hypothesis is that this is because the film is in black and white, and we're used to seeing it in color with deodorant commercials interrupting it every fifteen minutes.) It's witty, it's intelligent, and it's got a cracking good mystery. Besides, how can you not like a film that was banned in Chicago? **** ½

Even though I was a criminal defense lawyer at the outset of my career, I haven't much to add to the plaudits here, other than that it felt realistic to me.

However, I did notice at the outset the standard "pan and scan" statement that the film had been reformatted to fit your screen - which means it was filmed in a widescreen format.

Why hasn't this film been released in a widescreen version? It's one of the all time classic films - it deserves it. I'll also bet that with Duke Ellington providing the score, there must be a stereo master of the music available, so a stereo mix shouldn't be hard to create - voices and sound effects are not that hard to isolate and locate in a stereo or surround sound field.