Category Archives: Courtroom

1993 Films, Courtroom, Drama, LGBTQ+ Drama, LGBTQ+ Films, Top 250 Films

Philadelphia-1993

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Philadelphia-1993

Director Jonathan Demme

Starring Tom Hanks, Denzel Washington

Top 250 Films #171

Scott’s Review #782

Reviewed July 3, 2018

Grade: A

Having the powerful distinction of being one of the first Hollywood LGBT films to deal with heavy issues such as HIV/AIDS and homophobia, Philadelphia (1993) is a film to champion.

The film does contain some less-than-positive stereotypes across the board, but it was a tremendous box office success and, more importantly, introduced a large audience to a still (at that time) taboo subject.

Hopefully, this had a tremendous effect on creating an understanding of a vicious disease and its ramifications.

Tom Hanks deservedly won the Best Actor Oscar for his lead performance as an AIDS and discrimination victim, as did the heartbreaking theme song “Streets of Philadelphia”, penned by Bruce Springsteen, win for Best Original Song.

Director Jonathan Demme creates a world that is quite realistic in portrayal at the corporate level. Hotshot attorney Andrew Beckett (Hanks) has a promising future at one of the country’s largest law firms in Philadelphia.

Assigned a high-profile case, it is noticed that Andrew has developed lesions across his body and is subsequently fired from the firm.

After deciding to sue the firm and having no luck finding an attorney to represent him, he finally meets struggling black attorney Joe Miller (Denzel Washington), who begrudgingly takes the case to gain exposure.

Philadelphia is a film that is a courtroom drama with a cause, firmly ensconced in the “message movie” genre. A lesser version, and perhaps one made even a decade or so after 1993, might be reduced to the Hallmark television movie category.

Fortunately, the timing is perfect, and Philadelphia can be remembered as a film championing LGBT rights.

Hanks’s performance is just dynamic- his character is meant to be empathetic, a victimized man unjustly suffering not only discrimination but a death sentence.

The audience knows what is to come, and as Andrew loses more weight and appears more sullen and haggard, the tale grows sadder.

The final act of Andrew’s court victory is to be celebrated, but it is also heartbreaking as a feeble and dying Andrew now lies close to death.

Hanks brilliantly infuses Andrew with courage, heart, and values, so much so that he becomes a hero to the audience even if their sexuality is different than his.

As much as the undying love for Hanks is deserved, the powerful supporting cast is a treasure. Washington is not as sympathetic a character as Andrew is, but he learns a lesson and eventually sets his machismo aside.

The heart-wrenching death scene culminating in the hospital room involves lover Miguel (Antonio Banderas), surrounded by Andrew’s family, all-embracing as one. There is beauty mixed with tragedy in this one scene alone.

Even Mary Steenburgen, as the tough defense lawyer, shows some heart. And who can say more about the dynamic Joanne Woodward as Andrew’s mother?

Unfortunately, there are a few stereotypes to endure, and sadly, many early LGBT films (and some still do!) include these for emphasis- or perhaps ignorance? Nonetheless, these make the film seem slightly dated, given the progress LGBT people have made in the decades since it was released.

Joe Miller is portrayed as a macho guy afraid to be viewed as gay- he even jokes around about being a “man” with his wife. Joe also grimaces when he shakes hands with Andrew and suddenly realizes Andrew has AIDS.

Nearly all of Andrew and Miguel’s gay friends are effeminate- this hardly seems possible.

Such is a monumental achievement when a film breaks barriers by telling a story of critical importance. Philadelphia (1993) does just that by patiently asking its audience for tolerance, understanding, and heart.

In return, the film educates, floods with emotion, and breaks hearts. Other LGBT films would come along that were arguably even better, but Philadelphia is a groundbreaking experience sure to be remembered as the first of its kind.

Oscar Nominations: 2 wins-Best Actor-Tom Hanks (won), Best Original Screenplay, Best Original Song-“Streets of Philadelphia” (won), “Philadelphia”, Best Makeup

1957 Films, Black & White, Courtroom, Crime Drama, Drama, New York City

12 Angry Men-1957

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12 Angry Men-1957

Director Sidney Lumet

Starring Henry Fonda

Scott’s Review #910

Reviewed June 14, 2019

Grade: A

A fond memory of Junior High School was reading the play and then being treated to a viewing of the film version of 12 Angry Men (1957), a bristling and suffocating film that infuses progressive thought and thinking for oneself in animosity.

A valuable lesson for a teenager to learn, or anyone else, the film is essential, providing life lessons and tremendous drama, holding up well, and still brimming with texture.

The film begins by introducing the audience to twelve men deliberating on a defendant’s conviction or acquittal based on reasonable doubt.

The defendant is an eighteen-year-old Puerto Rican male living in a poor neighborhood, accused of fatally stabbing his father.

The witnesses are an older man and a lady who lives across the street. The jurors’ instructions are clear: if there is any reasonable doubt, they must return a verdict of not guilty. If found guilty, the accused will receive a death sentence.

Henry Fonda plays Juror # Eight, who initially is the only juror to vote “not guilty” when the others assuredly vote “guilty.”

He adamantly questions how reliable the two witnesses are and disagrees with the argument that the knife used in the death is an obscure brand, as he produces an identical knife of his own.

Juror # Eight can convince one juror to change his vote, allowing discussions and analysis to reconvene, much to the chagrin of a few men, especially Juror # 3 (Lee J. Cobb), the main antagonist.

Director Sidney Lumet provides a dynamic atmosphere in his debut film with astounding results.

The black-and-white cinematography is brilliantly mixed with the humidity of a scorching New York summer day, as the one set used is claustrophobic, drawing the audience into the action and suffocating along with the men.

As tensions mount and one juror attempts to kill another juror out of rage, a thunderstorm erupts outside, breaking the heat and changing the momentum in the jury room as the tide slowly turns in a different direction.

The story is wonderfully written, as each juror’s backstory is slowly revealed, providing insight into why each man may think the way he does or may have preconceived notions about the accused, rather than giving him a fair shake.

Juror #3 is a bully estranged from his son, while Juror # 7 mistrusts “foreigners.” Some of the others “go with the flow,” intimidated by conflicts, and afraid to ruffle feathers.

12 Angry Men teaches the utmost importance of the power of change against all odds. By standing by his convictions, Juror #8 influenced the other jurors to see what they were either unable or unwilling to see.

He forces them to question their morals and values.

By the time the film concludes, the audience is smacked across the face with tremendous impact, perhaps prompting them to question their views.

This is an example of the power of cinema.

Like the stage version, the plot requires the audience to think and determine, along with the characters, the power of reason and the intensity of the dialogue.

The fact that all the jurors are white males is never lost on me, but neither does it detract from my enjoyment. This is how things were done decades ago.

Fonda is charismatic and brilliant in the lead role.

12 Angry Men (1957) is a timeless story, wonderfully told and retold on the live stage. Lumet powerfully and effectively brings the production to the big screen by using cinematic elements to elicit the proper emotions in his audience.

The film holds up very well, as sadly, many of the stereotypes and beliefs the jurors hold are still shared by many Americans.

On the more positive side, people with strong, empathetic wills, like Juror #8, also exist and unquestionably influence more than they lose.

Oscar Nominations: Best Motion Picture, Best Director-Sidney Lumet, Best Screenplay Based on Material from Another Medium

Golden Globe Nominations: Best Motion Picture-Drama, Best Director-Motion Picture-Sidney Lumet, Best Performance by an Actor in a Motion Picture-Actor-Henry Fonda, Best Performance by an Actor in a Supporting Role in any Motion Picture-Lee J. Cobb

1962 Films, Black & White, Courtroom, Crime Drama, Drama, Social Issues

To Kill a Mockingbird-1962

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To Kill a Mockingbird-1962

Director Robert Mulligan

Starring Gregory Peck

Scott’s Review #468

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Reviewed August 25, 2016

Grade: A

To Kill a Mockingbird is a 1962 film based on Harper Lee’s renowned novel. It was released only two years earlier, in 1960.

The novel was groundbreaking, and the film is equally so. Race and racism are front and center in the storyline.

The film is still a marvel because it tells the story through the eyes of a child, in present-day terms, and as an adult, as she reflects on her experience.

The film is set in the 1930s in a small Alabama town.

We follow the lives of Atticus Finch, a respected lawyer and father, and his two young children- Scout and Jem.

Gregory Peck, as Atticus, is the moral center of the film.

Scout (Mary Badham) narrates, and her innocence makes the story much more compelling and less like a preachy vehicle for a social topic.

The Finches are a tight family unit as Atticus is widowed, leaving Jem and Scout motherless. A poor black man, Tom, is accused of raping and beating a white woman, coached into the accusations by her racist father.

We accept that the woman had designs on Tom and, when caught by her horrified father, was beaten, with Tom left to take the blame.

Much of the film, but not too much, takes place in the courtroom, as we hear testimony by the poor woman, her father, and Tom.

Not to be missed is that every juror is a white man, a sad reminder of the racism that existed and one argues still exists, though not as blatant in today’s modern world.

One cringes when the black attendees are forced to sit in the upper portion of the courthouse, an obvious way to demean and lessen them, and which speaks volumes for the town.

We realize Tom does not have a chance, yet we hope against hope for his acquittal.

Wisely, I do not feel the point is the trial’s outcome—we know what will result. But the film teaches us a lesson about reality: life is often unfair and painful.

The after-effects of the trial are the most exciting part of To Kill a Mockingbird.

Gregory Peck was awarded the Best Actor Oscar in 1962 for his role as a liberal, progressive, and honorable man who can do no wrong and is an excellent example for his children.

A black maid, Calpurnia, works for him, and he treats her like family. I could not help but think she is the mother figure in Jem and Scout’s lives.

Atticus does the right thing, treating everyone fairly and living a moral life. He is an excellent example, and it is no wonder Peck won the trophy.

A subplot involves a mysterious neighbor, Boo Radley, feared by the town kids but turning out to be a protector and companion to Scout and Jem.

This role was the first for acclaimed actor Robert Duvall; the actor has a tiny yet important role and does a great deal of expressive acting without uttering a line.

The title of the film is poignant and essential to the ending.

The film is really about Jem and Scout and their quick journey into the pains and unfairness endured by adults. Once innocently enjoying the summer, playing games, and making friends with a visiting young boy, they are exposed to evil and a hate-filled racist town, which they slowly come to realize exists.

Filmed in black and white, this quality enhances the picture. The blowing leaves and dark shadows add much to the impressive cinematography and give the film a dark quality that color would have ruined.

The 1930s time period is very authentic.

To Kill a Mockingbird (1962) is a timeless film with an important message about the world. Children and adults of every generation should view it as a lesson in empathy and compassion.

The film is not ugly or raw but is truthful and still feels fresh. It will resonate with all audiences patient enough to give it a good watch.

Oscar Nominations: 3 wins-Best Picture, Best Director-Robert Mulligan, Best Actor-Gregory Peck (won), Best Supporting Actress-Mary Badham, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White

Golden Globe Nominations: 3 wins-Best Motion Picture-Drama, Best Director-Motion Picture-Robert Mulligan, Best Performance by an Actor in a Motion Picture-Drama-Gregory Peck (won), Best Original Score (won), Promoting International Understanding (won)

2014 Films, Courtroom, Drama

The Judge-2014

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The Judge-2014

Director David Dobkin

Starring Robert Downey Jr., Robert Duvall

Scott’s Review #261

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Reviewed August 2, 2015

Grade: B+

The Judge (2014) is a formulaic, courtroom drama that we have all seen many times before, but I found the film rather enjoyable.

The main reason for this is the casting of Robert Downey Jr. and Robert Duvall in the pivotal central roles. The two actors play estranged father and son.

The clichés are numerous, but with excellent acting, the story feels fresh, fun, and compelling, if not innovative. As seen by only a few, The Judge was on my radar only because of Duvall’s Oscar nomination for his role.

Hank Palmer (Downey Jr.) is a big-shot attorney from Chicago. Highly successful, he is selfish, driven, and a downright prick. Going through a messy divorce with his gorgeous, athletic wife, he has a close bond with his daughter, despite not being home very often.

Suddenly, Hank’s mother dies tragically and he must return to small-town Carlinville, Indiana, a place he despises, not simply because the town is in the sticks, but because he has bad memories.

When he arrives he reconnects with his two brothers and his father (Duvall), the local judge. While staying at the family house, Hank once again butts heads with his father and runs into an old girlfriend (Vera Farmiga), who now owns the local diner.

On his way out of town for good, Hank is asked to defend his father when he is arrested and charged with murder.

The Judge is a family drama that contains suspense and a few twists.

The film reminds me of a slew of 1990s-era courtroom dramas based on John Grisham novels (A Time to Kill, The Client, The Firm) so I expected a bland, dated film.

I love the chemistry between Downey Jr. and Duvall, which I think is the most successful aspect of the film, and the family-style drama with numerous trials and tribulations thrown in.

Hank is smarmy and ruthless, but has a humorous side and tells it like it is. I smiled at his wry wit.

Judge Parker is equally stubborn and the battles are wonderful to watch. Conversely, the film also has tender bonding moments between the two men, which are sentimental and warm. As one man takes care of the other during sickness it is a tender and heartbreaking scene.

An interesting aspect is the small-town sense of community of Indiana, which I found charming. Everyone gravitates towards the cute diner in the center of town owned by Hank’s high school sweetheart. There is a nice wholesome, small-town appeal to the entire film.

I half expected a county fair or apple pie baking scene to be added.

The film feels wholesome and comfortable- a slick, mainstream drama. Movie comfort food if you will.

The relationships among the three brothers- Hank, Glen- a middle-aged man regretting never having moved from Carlinville, and Dale, a sweet-natured autistic man, determined to one day become a filmmaker, are interesting.

They are so different but stick together bicker, and bond. Similar to real-life families.

The negatives are that the courtroom scenes sometimes go on too long and the film brings nothing new or exciting to cinema and plays it safe throughout.

Still, I was pleasantly surprised to be treated to a film above mediocrity but not a reinvention of the wheel.

To be seen for simmering acting by the entire cast and especially film stalwarts, Duvall and Downey Jr, who bring life and wit to an otherwise traditional film.

Oscar Nominations: Best Supporting Actor-Robert Duvall

1959 Films, Black & White, Courtroom, Drama

Anatomy of a Murder-1959

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Anatomy of a Murder-1959

Director Otto Preminger

Starring James Stewart

Scott’s Review #61

Reviewed June 24, 2014

Grade: B+

Anatomy of a Murder (1959) is a thought-provoking courtroom/legal thriller that is not a black-and-white, good-and-bad story.

It is more profound and more complex than that.

Starring James Stewart as an everyman defense attorney, the film, shot effectively in black and white, pushed barriers for its time by using certain words such as “rape” and “panties” that were never spoken in films before this time.

Much of the action takes place inside the courtroom.

The film pushed the envelope and is still enjoyable today.

Throughout the film, which is admittedly slow at times, the audience is unsure of the defendant’s guilt and wary and suspicious of him from the start, which creates great drama.

The rooting value is with Stewart, the hero, and the interesting supporting cast provides deeper layers than similar-type films that risk being wordy or preachy.

As each new fact or twist and turn arrives throughout the film, it becomes more and more engaging until it reaches a satisfying climax.

Oscar Nominations: Best Motion Picture, Best Actor-James Stewart, Best Supporting Actor-Arthur O’Connell, George C. Scott, Best Screenplay Based on Material from Another Medium, Best Cinematography, Black-and-White, Best Film Editing

Golden Globe Nominations: Best Motion Picture-Drama, Best Director-Motion Picture-Otto Preminger, Best Performance by an Actress in a Motion Picture-Drama-Lee Remick, Best Performance by an Actor in a Supporting Role in any Motion Picture-Joseph Welch