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Witness for the Prosecution [VHS]

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Although this film is filled with a bevy of excellent actors and actresses, and although he did play the part of Gracchus in SPARTACUS a couple of years later, and an excellent supporting role in ADVISE AND CONSENT a couple of years after that, this is the last truly great performance in the career of perhaps the greatest character actor film has seen. Charles Laughton was in no sense a leading man: obsese, unattractive, unathletic, awkward. He nonetheless managed to put together an astonishing career. WITNESS FOR THE PROSECUTION was released in 1957, but until that moment, the 1950s had not been kind to Laughton, whose greatest success came in the 1930s and 1940s. He had directed the remarkable THE NIGHT OF THE HUNTER in 1955, but his acting parts in the decade, apart from David Lean's HOBSON'S CHOICE, were for the most part undistinguished and not among the finest of his career. WITNESS FOR THE PROSECUTION is Laughton's glorious return and, because of declining health, last great role. If WITNESS FOR THE PROSECUTION had nothing else to recommend it, Laughton's performance would make it well, well worth seeing.

Luckily, this film has far more than Laughton to recommend it. Ironically, it was also the last great role for Tyrone Power, for whom WITNESS was also a part of a comeback (he also excelled in THE SUN ALSO RISES). I have to say, for anyone who had seen Power in films in the 1940s, his physical appearance in 1957 is shocking. Much like Errol Flynn, he had lived a hard life, and it shows. He would die of a heartattack a year after this performance, and looks much older than 43 years old. Nonetheless, the remarkable thing about Power is that while not a particularly great actor during the heyday of his career, when he looks carried him from role to role, near the end of his life he grew considerably as an actor. WITNESS FOR THE PROSECUTION is one of his better performances, by far. Unlike Laughton and Power, both aging and in poor health, but similar to both in that the 1950s had up to that point not been one of her most active decades, Marlene Dietrich appears barely to have aged since the 1930s. The kinds of parts she was best suited for were far too subversive for the staid 1950s. Her natural cynicism and sexuality were far too threatening at that time even for the darkest of film noir. So, WITNESS FOR THE PROSECUTION was something of a comeback (or the continuation of a comeback in the case of Power) for the three principles. The cast was rounded out by some stellar characters actors, including the always amazing Una O'Connor, the frequently villanous Henry Daniell (though not in this one), and John Williams (who had played Audrey Hepburn's chaffeur father in Wilder's SABRINA, playing Laughton's law partner in this one).

Unlike the three leads, Billy Wilder was not suffering from any kind of lull in his career when he made this film. He had, first as a screenwriter and then as a director, been marching from triumph to triumph for the previous twenty years, and would continue to do so for another ten years. The movie was untypical Wilder, however. Along with Preston Sturges, Wilder is arguably the greatest writer of comedy scripts in the history of film (he had cowriters, but their primary function was to correct his Germanicisms, to polish his rough English; Wilder supplied the ideas and action). In WITNESS FOR THE PROSECUTION, however, although adapting an Agatha Christie original, and adding a huge number of Wilderian touches, he largely is working from someone else's work. Wilder virtually always wrote completely original stories.

A lot of people love the plot of this one, and especially the twists, but I have to say that I find this somewhat artificial, and some of the least appealing parts of the film. What I do delight in is the interplay between the various characters, the chemistry between the actors and actresses, the dozens of little touches and transitions that Wilder makes while working within the limitations of someone else's story.

But most of all, this film is great because Charles Laughton was able to find one last, great role before his career came to an end.

Sir Wilfrid Robarts (played by Charles Laughton) is renown as one of the greatest barristers in England, but his failing health has placed him at the mercy of doctors, and in the clutches of an overbearing nurse (Elsa Lancaster). However, when he is introduced to Leonard Vole (Tyrone Power), an innocent man on his way to the gallows, Sir Wilfrid decides to risk his health and use his jurisprudential skills to save Vole. A wrinkle in the case is Vole's surprisingly harsh wife (Marlene Dietrich), but fortunately a wife can never be used as a witness for the prosecution. [Black-and-white, released in 1957, with a running time of 1:56.]

This movie is based on Agatha Christie's shortstory of the same title, which was first published in the 1933 book The Hound of Death and Other Stories, and is nothing short of a triumph! The three main actors of the movie (Laughton, Power and Dietrich) put on a wonderful performance, making this movie gripping from start to finish. Plus, as a fan of John Mortimer's Rumpole of the Bailey books, I must say that I liked the setting. (I do believe that any Rumpole fan will also adore this movie.)

So, if you are interested in courtroom drama, classic movies and great acting, and want a movie that is all three, then you must get this DVD!

Elsa Lanchester is brilliant as the nurse for the acerbic barrister, newly home from the hospital after suffering a heart attack; nevertheless, he continues to smoke cigars and drink brandy whenever he can be skillful enough to hide them from the ever watchful Miss Plimsill (Lanchester). Tyrone Power is superb as the charming, disingenuous ne'er-do-well, unable to settle down after the War, and inventing egg beaters that beat AND separate the yolk from the white, and other dubious household necessities. Marlene Dietrich makes a Grand Entrance, and promptly puzzles Sir Wilfrid beyond speech, with her apparent cool, collected behaviour upon hearing her husband is going to be charged with the murder of Emily French, a rich older widow befriended by Power when he assisted her in the selection of a hat. The trial is the real action and centerpiece of the movie. but I enjoyed the byplay between Sir Wilfrid and Miss Plimsill even more...upon emerging from the car when he first comes home, Miss Plimsill reminds him to "Take teeny weeny steps, Sir Wilfrid, remember, we had a teeny weeny heart attack..." to which he replies: "Oh shut up." And his threats (after she confiscates some cigars he was smuggling in his cane) "I'll do it some dark night when her back is turned; I'll plunge her thermometer between her shoulder blades..." There are many unexpected twists here, and the ending is a real shocker, a complete surprise, and quite satisfying. Great performances by an exceptional cast, and as always, IMHO, Laughton steals the show.

This is one of the best "trial movies" ever made. It's an outstanding film that is just as good today as it was almost 50 years ago when it was released in the theaters. The shocking ending caused quite a stir back then, too.

The only part of the movie I thought looked dated and unrealistic was Tyrone Power's character being able to interrupt the trial with outbursts and not be reprimanded for it. There is no way that would be tolerated, at least today.

Otherwise, it's a pretty solid film with a good cast that includes two fascinating characters played by actors who know how to entertain: Charles Laughton and Marlene Dietrich.

Laughton, who plays Power's defense attorney, grabs the spotlight in the story but Dietrich almost steals the movie in her role as Power's wife. Laughton's dialog is terrific throughout, bringing a number of laughs to this serious film. He's just a joy to watch. Dietrich is even more riveting but just doesn't have anywhere near the same amount of screen time as Laughton.

Not to be overlooked is Elsa Lanchester, playing Laughton's nurse. She, too, demonstrates her comedic talent and significantly adds to the fun of watching this film.

If you like some fine drama, storyline twists, a little humor thrown in and great acting and dialog, this is a classic film to check out.

Dietrich never had much good to say about this film; she didn't like the set, thought Power inadequate and was generally turned off by it. I think probably she was disappointed that the public didn't respond with the praise she felt she deserved, in her "transformation" scene. We can look back on it now and see that she did a good, professional job. But then, that's what makes this courtroom whodunnit drama so fine: the high level of performance by all the actors involved. You can count them all one by one: Agatha Christie for the story; Billy Wilder for at least half the screenplay; Charles Laughton in one of his best roles and supported by his wife the excellent comedienne Elsa Lanchester; the best English character actors in the business, and Dietrich in probably her least sympathetic -- and therefore most remarkable -- performance. As to Tyrone Power? He played the part of an ex-RAF guy, drifting from job to job and mostly living off his wife; a sleaze-ball seller of novelty egg-beaters, door-to-door who preys on lonely women. In other words, the kind of guy who could only get by on his looks. Power had much more than his looks to get by on, and here, the rest is acting. Marlene probably just had somebody else in mind for the role of Lawrence Vole.

This play was a hit for a very long time for Patricia Jessel, in London, and one can only imagine the intrigue Dietrich must have resorted to to get the role for herself. Billy Wilder's wife is reported to have called Dietrich "a whore," (how many Hollywood wives must have said the same?)but in all probability it was only because both Marlene and Billy came out of Pre-War Berlin and Vienna and as expatriates spent a great deal of time talking intimately about the project, in German. After von Sternberg, Dietrich considered herself not merely an actress and star, but a participant in the artistic creation of the enterprise. Probably it was their artistic intimacy (and their understanding about sexuality) that produced A FOREIGN AFFAIR too. But this film is remarkable in two telling ways; it is witty not just in dialogue, but in camera use, and most of all, in pace. Unlike many English films of the period, the story is told with terrific speed. A sense of urgency permeates the story. The surface of WITNESS crackles with a dry, ironic electrical tension. They really don't make movies like this anymore. They can't.

The film is based on Agatha Christie's story with the enormous twist not on the last page but on the last line. Billy Wilder's direction is perfect and all actors get it right. Charles Laughton is absolutely superb; he has the best lines and scenes and he brings the wit, intelligence, and the heart to the film. Marlene Dietrich is perfect playing not one but three roles, convincingly transforming from one character to another, from the present to the past. This is not just a good mystery but a classic of the courtroom genre and a very enjoyable film even after you know the ending. "Witness for the Prosecutionis" is one of my favorite Agatha Christie's screen adaptations.

This film is a remarkable, unforgettable work of art in so many ways. Director Billy Wilder and a brilliant cast of actors gave "Witness for the Prosecution" every element of a superb movie. The film is a highly suspenseful courtroom drama, saturated with plot twists and surprises which do not let up until the very end. I have never seen another movie in which the element of suspense is so brilliantly done-the plot twists leave the viewer captivated and perplexed until all the loose ends come together in the film's unforgettable climax. Aside from the drama, "Witness for the Prosecution" has numerous bits of comedy interspersed throughout the storyline, which complement the film's enjoyability very much and do not in any way detract from its dramatic impact. The performances of the actors and their interaction with each other are done flawlessly. Charles Laughton leads the cast, starring in one of his last film roles as Sir Wilfrid Robarts, a crotchety old English barrister, who agrees to defend Leonard Vole (played by Tyrone Power, who also died shortly after the film was made) on a charge of murder. The case against Vole seems open-and-shut, as even his own wife (played by Marlene Dietrich) agrees to testify against him. But as we learn in the course of the film, there is much more to Leonard Vole and his wife Christine than first meets the eye, and just when you think you know how the story will end, the plot veers off in a new direction and the viewer is kept guessing until the final credits roll. For quality of acting, a great storyline, suspense, and great entertainment value, "Witness for the Prosecution" simply can't be beat. Every element of a great film is present here in abundance. Suffice it to say that, in my humble opinion, this movie represents the pinnacle of filmmaking, and was never surpassed before or since. Pure, undiluted cinematic genius.

"Witness for the Prosecution" is a first rate courtroom drama with razor sharp direction by Billy Wilder and a cast to die for. As the plot opens, "nice guy" Tyrone Power stands accused of murdering a wealthy widow. Unemployed and shiftless, he reminded this reviewer of Ray Milland in "Dial M for Murder". TP was the last known person to see the demised alive, has a shaky alibi-and is in the lady's will for big bucks! TP turns in desperation to big shot London lawyer Charles Laughton. In fact, Scotland Yard busts him in CL's office! Most have already commented on the lively courtroom drama but this reviewer admired the out of court sparring too as Laughton and his colleagues prepare for trial. Just out of the hospital, CL is perfect as the curmudgeonly and crafty barrister, even if he does tear up most of his scenes. His tart banter with his nurse (Elsa Lanchester) is softened by the knowledge that she was his real life wife. There are at least 3 huge plot twists to WFP, leading this observer to write a concise review in the interests of not divulging the ending. That leads us to female lead Marlene Dietrich: She is central to those twists- watch her closely! MD played 30 movies from 1930-1965; was she ever better than here? Hollywood took notice of WFP: It was nominated for Best Picture, Best Director, Best Actor (Laughton) and Best Supporting Actress (Lanchester), though winning none. Dietrich was ignored by the Academy but nominated for Best Actress by the Golden Globes. How many times were husband and wife nominated together? WFP is filmed is beautiful black and white-a lost art-and features true economy of sets, perhaps reflecting its' stage origins. This review tried to maintain an aura of mystery about the ending; there is a good deal more suspense than implied here. Like the header states, WFP is a winner from the old school -one that has long since been out of session.

"I'll snatch her thermometer," snarls the aging, portly, brilliant, irascible London barrister Sir Wilfred Robarts, just back in his office after spending time in a hospital recovering from a heart attack, "and plunge it between her shoulder blades!"

In Witness for the Prosecution, based on an Agatha Christie story and popular stage play, Sir Wilfred (Charles Laughton) is referring to his personal nurse and attendant, the chirpy and determined Miss Plimsoll (Elsa Lanchester). Sir Wilfred has strict instructions to give up everything he holds dearest, namely brandy, cigars and the excitement of criminal defense cases. Nurse Plimsoll is there to see that he does, as well as to give him his injections, make sure he swallows his pills and tuck him in for his afternoon naps. In an effort to sneak a cigar that first day back in his office, Sir Wilfred finds himself intrigued by the case of Leonard Vole (Tyrone Power). Vole is a charming, too charming, man whom we don't quite trust. He has been charged with murdering a rich, silly woman...who coincidentally changed her will in Vole's favor a week before her death. Vole stands to become a very wealthy man. There is means, motive and opportunity, and for Sir Wilfred, there is a challenge. Vole swears he's innocent, but his story is not altogether plausible. His only hope, and a shaky one it is, is the testimony of his German wife, Christine (Marlene Dietrich). She has supplied an alibi, which cannot be verified, but at least she cannot be forced to testify against her husband. Then, when the marriage is found to be invalid, who should decide to become a witness for he prosecution? Sir Wilfred is mortified but even more determined to save his client.

The case, full of startling twists, legal shenanigans, first-rate performances and vivid characters, ends with a typically Agatha Christie surprise. Some argue that Christie perhaps was weak as a writer, but peerless as a storyteller, able to construct mystery plot puzzles that consistently stumped her readers until the last chapter. With Billy Wilder directing and Wilder and Harry Kurnitz, an old pro, providing the screenplay, Christie once again gives a surprise twist that leaves us open-mouthed, yet smiling at her cleverness. Thanks to Wilder and Kurnitz, we also have a conclusion that involves Sir Wilfred and Nurse Plimsoll that is immensely satisfying. If only there had been a sequel.

The four leads do marvelous jobs. In a way, the movie is about two relationships, not just one. There is the relationship between Vole and his wife. They met when Vole was a sergeant stationed in Germany right after WWII. He met Christine when she was earning money entertaining in a dive for soldiers. We see some of this in flashback. With Vole's opportunistic charm and Christine's cool manner, it's difficult to determine who, if either of them, is using whom, or to what degree love enters the picture. Christine's first entrance is memorable. Says Sir Wilfred to a group of fellows awaiting Mrs. Vole, "Be prepared for hysterics and even a fainting spell. Better have smelling salts handy and a nip of brandy." Then in walks Marlene Dietrich as Christine Vole, with perfect assurance. "I do not think that will be necessary," she says to Sir Wilfred. "I never faint because I am not sure that I will fall gracefully and I never use smelling salts because they puff up the eyes. I am Christine Vole."

In the second relationship, Sir Wilfred and Nurse Plimsoll provide the acerbic and mutually bullying comic relief for the movie. The two actors, however, married in real life, manage to develop a touching inter-dependence. It's not just a smile they give as at the end, but also a modest lump in the throat.

And personally, I was delighted to see Henry Daniell in a substantial secondary role. He plays Mayhew, the solicitor who brings Vole to Sir Wilfred. Daniell could look like he was sneering with disdain even if he was just admiring the view. He played some wonderfully upper-class cads and villains in a lot of so-so movies. He also was a first-rate actor, who, given the chance, could also play serious, concerned men, the kind you wouldn't mind having for a friend. He does a fine job here.

The movie, filmed in black and white, looks very good in the DVD transfer. There are no extras to speak of.

Good summaries of the plot of this movie appear in other reviews - I won't repeat them. The acting is superb especially by Charles Laughton. The ensemble cast is also excellent including several fine character actors.

This movie is an example of that rare animal: a film that is better than the book. The Agatha Christie short story, on which this movie is based, is only 24 pages long and spends only 2 pages on the trial! The Charles Laughton character, Sir Charles, appears briefly with only a few lines. Billy Wilder wrote the screenplay and it expands a throw away Christie story into a powerful courtroom drama.

The DVD transfer is excellent: the picture is sharp, gray level detail is very good, and the sound is superb. Great care was taken in the preparation of this DVD.

I can't recommend this film and DVD enough. Even if you don't like "old" or B&W films you will like this one. Buy it! Don't wait! You won't be sorry.