The Big Screen Bulletin 10.29.07: The Best Movies of the Alphabet (Part 2)
Posted by Chad Webb on 10.29.2007
Get ready for the next set of letters, F,G,H,I, and J! Click here to find out which movies were selected.
In part 2 of "The Best Movies of the Alphabet" feature, the decisions on which films will represent the letters have become more difficult. Hopefully you enjoy what I ended up with, and don't forget to check out Part 1 of the list!
F is for…
Forrest Gump
Forrest Gump
Directed By: Robert Zemeckis Written By: Eric Roth Starring: Tom Hanks, Sally Field, Robin Wright Penn, Gary Sinise, and Mykelti Williamson Release Date: July 6, 1994 The Plot: Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny, eludes him. Oscar Victories: Best Picture, Best Actor in a Leading Role (Hanks), Best Director, Best Effects (Visual Effects), Best Film Editing, Best Writing (Screenplay Based on Material from Another Medium) Alphabet Trivia: Name one Actor who turned down the role of Bubba.
The letter "F" was one of the hardest decisions I've made on this list. Of the votes from the staff, a three way tie was formed, leaving the final choice up to me. I loved all three films (the other two can be seen below), and truly did ponder which would represent this letter the best, and I kept coming back to Tom Hanks. What would this feature be without him? Although Cast Away has always been my favorite Hanks effort,Forrest Gump is not far behind on my personal top 100 list. This is a magical conquest of acting, direction, music, and on, and on. It is quite purely and genuinely one of the most inspirational pictures ever constructed.
This was unlike any motion picture I had ever seen before or since. The world was introduced to a man, with an I.Q. of 75, who did not judge, scrutinize, or debate the ongoing controversies and issues that occurred, but took them as innocently and as chastely as a child. If the story follows his life, it also takes on a fantasy like journey through some of the most important events in history, except as we visit them during the film, two things have changed. The first is that we watch the news unfold without worrying about the underlying dealings and hullabaloo. They might rest at the back of our minds, but such concerns seem insignificant while Forrest experiences them. And that is the second alteration. Forrest has been planted into these monumental dates. He is the revelation Elvis Presley needed for "Hound Dog", the reason Watergate was uncovered, and his words led John Lennon to write "Imagine."
Scenes such as the aforementioned make us laugh, but also cause us to admire the past with a different perspective, one of wholesomeness perhaps. So many moments are memorable in a way that other films could only hope to achieve. Take for instance when Forrest chugs fifteen Dr. Peppers while waiting to meet President John F. Kennedy, and then when he confesses to the leader "I Gotta Pee!", he finishes his business in the bathroom only to glance at a picture of Miss Marilyn Monroe on his way out. My favorite sequence is Gump's run of multiple laps across the country. As an avid long distance runner myself, it etched a permanent smile on my face as Forrest just gets up and "feels like running." He encounters various people, helps them out with whatever pursuit they are involved in, and keeps on going with a beard that never stops growing. The music during this entire sequence is comprised of classic tunes that most of us know and love. This is not just a voyage through news, but also of music, which was so vital in shaping lives. As a matter of fact, every single song selection is priceless, ranging from all genres.
The lead role is portrayed by none other than Tom Hanks, and honestly, who else could have accomplished a tenth of the brilliance he did? Hanks is a rare breed of actor. The audience forms an bond with him few other actors attain. We are comfortable viewing him on the screen. His very presence soothes us. Hanks is one of the most beloved performers of our generation, and why? Is it because he has gotten so lucky at choosing scripts? No. The reason is that he can do just about anything in front of that camera. Some have criticized Hanks for depicting nice guys or everyman characters excessively, but this is far from factual. True, Hanks primarily plays heroic personas of average type males, but he can pull off villains (See Road to Perdition). The point is, Forrest Gump was born especially for Hanks, and he did not just nail it perfectly, but became it in a way that absolutely astounds me to this day. Forrest is such an unbelievable person, yet Hanks transforms him into such a compelling and engaging core to this film that it is as if he could have existed.
The supporting cast aids Hanks in making this a masterpiece of dreams and ambitions. There is Forrest's mother, played by Sally Field, in a manner that no one could fathom another female figure in his life. She is outstanding and attentive. Robin Wright Penn is Jenny Curran, the sole love interest for Forrest. Her life is incredibly distressing, but she always has a protector in Forrest. He stands by her side, and never betrays her for a second, regardless of the circumstances. Penn captures the internal struggles of Jenny with such disturbing realism and dynamism that we are not condemning, but rooting for a restoration and healing process in her life. Mykelti Williamson has contributed to numerous projects before and following Forrest Gump, but it is hard to debate that Benjamin Buford "Bubba" Blue was the summit of his career. He was Forrest's "best good friend", but also a long lost brother he never had. The chemistry between Hanks and Williamson is undeniable and just captivating. And then there is Gary Sinise, as Lt. Dan Taylor, the argumentative war veteran who lost his legs, but is alive due to a certain savior. Sinise is hysterical and gripping as a middle aged man coming to grips with his destiny and place in this universe.
Thirteen years after its release, the special effects are still amazingly fresh and comically solid in execution. The integration of a character into so many pivotal speeches, shows, rallies, and so forth must have been exceedingly touchy and stressful, but Zemeckis and company did wonders with this component. One of the best is Forrest meeting LBJ, who requests to see his war wound, which is promptly revealed on his "butt-ox." Every facet of Director Robert Zemeckis' and Screenwriter Eric Roth's adaptation of the Winston Groom novel is enchanting and phenomenal. The set decoration from Nancy Haigh, and the production design of Rick Carter is bright, animated, and attractive. The costuming by Joanna Johnston is superlative with classic logos from Pepsi and Nike that induce pleasant nostlagia. However, none of these would have been near as impressive without the legendary score from Alan Silvestri, the ultimate potion to liven ones spirits.
Moviegoers bought tickets to Forrest Gump in incalculable quantities in 1994. It was that lovable, and to this day, it has not lost any of its strength. In just under two and a half hours, Forrest makes us cry, laugh, love, sad, and angry all in one glorious human adventure. Some are tears of joy, others of sorrow, but they are not desperate. The message of optimism in Forrest Gump is a theme that can never and will never wane. It is something we should always remember. Forrest teaches us how by means of his extraordinary story. After a football scholarship, Vietnam, ping pong, shrimp boat captaining, president's, and other celebrities, the image that still re-ignites the passion, heart, and enthusiasm, the soul of this timeless landmark, is a feather floating in the breeze.
2nd Place
3rd Place
G is for…
Goodfellas
Goodfellas
Directed By: Martin Scorsese Written By: Nicholas Pileggi and Martin Scorsese Starring: Ray Liotta, Robert De Niro, Joe Pesci, Paul Sorvino, and Lorraine Bracco Release Date: September 19, 1990 The Plot: Henry Hill and his friends work their way up through the mob hierarchy. Oscar Victories: Best Actor in a Supporting Role (Pesci) Alphabet Trivia: Jimmy Conway's nickname is a reference to a 1934 film starring James Cagney. What is his nickname?
Goodfellas. Director Martin Scorsese's awesome chronicle of the mafia. Frankly, this film is the best of its category, which grows larger by the month. It was already ageless, but it had to have been bolstered by the popular television show The Sopranos, which carried numerous similarities, and coincidentally included brief appearances by some of its leads. Goodfellas further cements Martin Scorsese as one of the greatest filmmaker's ever. No matter what decade it might be, Scorsese has never lost his touch. He incorporates style, violence, wealth, romance, and realism in one grand parcel. It has it all.
If The Godfather occupies one extreme of overembellishing the portrayal of the mob, Goodfellas is certainly resting nicely at the opposite end of the spectrum. Despite most offerings grabbing a bit of both sides, Martin Scorsese has always elected and striven for persuasiveness and credibility above all else, while not ignoring his gifted sense of panache to lace into the perfection. Most critics state that one should not compare The Godfather and Goodfellas, but I would disagree. While both films employ drastically divergent approaches, it is inevitable to eventually weigh the pros and cons, if only because they are both bonafide classics of the same pedigree. The characters in both are layered and profound, the set design is detailed and meticulous, and the bloodshed is decisively a cardinal aspect.
What makes Goodefellas superior is the pacing, and this is where Scorsese rules in each one of his submissions. The speed is slick and sleek, the mood is enthusiastic and suspenseful, and the tone comical and brutal. His hands reach everywhere, and subsequently succeed in moving and shaking all audiences. In order to challenge the top dogs of the genre, one has to procure some slice of the plausible vein set forth in Goodfellas. Exaggerating and overstating a day in the life of a gangster has come and gone. To gain the attention of moviegoers, a filmmaker must dig down deep into the trenches and unearth more than a portion of the authenticity that Goodfellas possessed. That is precisely how high it set the bar, and you know what, it may never be nudged.
The story is based loosely on the novel Wiseguy by Nicholas Pileggi, who also served as co-screenwriter with Mr. Scorsese. The narrator is Ray Liotta as Henry Hill, giving a memoir of his time in the mafia when he resided in 1950's New York City. Liotta's voice is ideal in that he glides us through his younger years with such a swift and playful manner. Gears soon switch to the 1970's where Henry is a more important figure in the organization. Liotta had just the right disposition and nature for his role. His accessibly friendly face weaves us through his existence wonderfully. Liotta might not be lauded to the degree of his co-stars, but he acts as the foundation to this structure.
Robert De Niro's participation with Scorsese is well documented and obvious to anyone that has heard of them. There was a time when the two seemed inseparable and unstoppable. Like so many director/actor duos, they brought out the best in each other. That time has passed, since Scorsese's new boy is DiCaprio, but it is hopeless to contend that DiCaprio was better with Scorsese than De Niro. Three of the films they finished together are regarded as flawless, and they span three different decades. That is shocking when you stop to take it in. De Niro is Jimmy Conway, one of Henry's associates, and he is as reliably dazzling as usual. De Niro's methodology here is one of startling subtlety, yet fierce composure. He is not the brightest light of the picture, but one that gleams for sure.
Joe Pesci steals the show as Tommy, another close buddy of Henry's. Pesci's psychotic transfers from charming jokester to insane hitman are jarring and vigorous to say the least. His Academy Award was well earned. That famous scene in the bar where he instantly jumps on a word that Henry uses to describe him (funny) is both scary and hilarious. Lorraine Bracco is additionally resplendent and eminent as Henry's wife Karen, the chief female presence of the tale. Bracco is unbeatable when she wants to be. Paul Sorvino is incredibly intriguing as Paul Cicero, the boss who can be relaxed and cheerful easily, but to get under his skin or disobey his instructions reveals a slightly darker persona.
Scorsese and Pileggi built the sprawling script in such a fashion that it is literally staggering to devour. I say this because in the hands of anyone else, it would have been a jumbled mess. Certain characters and sub-plots are given more focus, two narrators are utilized, and the fragmented atmosphere jumps around, but all this is eloquently managed by Scorsese who employs beautiful shots and gruesome images to augment the substance. A key filming instance unravels as Henry and Karen are entering the back of a restaurant, and in one long take, Scorsese follows this new couple into the main room as a table is constructed up front for them immediately. The cinematography from Michael Ballhaus is revitalizing, energetic, and gorgeous. His camera evades being stagnant, and never hesitates to expose a unique, rapid, or arresting shot. Scorsese's abiding collaboration with editor Thelma Schoonmaker is as graceful and edgy as ever. She acts as the glue which holds it in place.
In all selections of the Scorsese cannon, his choice of music is fundamental, and adds a distinctive coating to his films which no living entity can equal. The tunes blend seamlessly with the sequences. I would be hard pressed to do so, but I think I would classify Goodfellas as the very best Martin Scorsese has bestowed upon the moviegoing public. It is easier to venture towards, and be engrossed by the suction of these characters. It is not as contentious, or as flashy as the acclaimed icon's other four star efforts. To put it simply, Goodfellas is one of the coolest films in history, and never misses a beat.
2nd Place
3rd Place
H is for…
Halloween
Halloween
Directed By: John Carpenter Written By: John Carpenter and Debra Hill Starring: Donald Pleasance, Jamie Lee Curtis, and Nick Castle Release Date: October 25, 1978 The Plot: A psychotic murderer institutionalized since childhood escapes on a mindless rampage while his doctor chases him through the streets. Oscar Victories: None Alphabet Trivia: What was the original title while the script was being written?
One opinion I have always defended to the end is that sequels of a franchise, if poor enough, and completed with enough pure greed in mind, can ruin, or at the very least tarnish a series. We have seen this occur with the American Pie films and the Planet of the Apes saga, among other arguable entries. Every so often, a film will be so masterful it can survive all the mistakes Hollywood made by dragging its name through the mud. After nine Halloween movies in total, and a possible reboot of a new franchise, John Carpenter's 1978 surprise hit still stands as perhaps the king of the slasher fests.
Not all the Halloween sequels are terrible, a couple are decent guilty pleasures, but enough is enough. Carpenter's film originated an abundant of the clichés audiences have grown to despise. However, as the horror universe has changed over the years dramatically, Michael Myers revenge on his sister that fateful night is still as frightening as ever. This was a visionary effort with a special identity all of its own, which can never be contended.
Halloween does not concentrate on gallons of blood and gore to scare the audience, but good hearty suspense, which is felt for the entire 92 minutes. Your eyes are wide open, staring straight, waiting for Michael's next victim, and hoping someone uses their head and gets the better of him. This is saturated with an atmosphere that is undeniably terrifying, and ultimately fulfilling on a penetrating and immense level. This is tension you would want to cut with a chainsaw, rather than a knife.
John Carpenter's successful contribution was not an innovator of its type. Truthfully, it is often compared with Alfred Hitchcock's Psycho, but Halloween has an element of threat and dread to drive it that Hitchcock's classic did not. This was filmed in color for starters, therefore taking full advantage of how to manipulate colors, red in particular, to reveal them patiently, as to better creep out the viewer. Secondly, the silence of the merciless murderer Michael Myers is increasingly intimidating, and perseveres with you on a more incisive scale. No doubt Psycho was the birth of this form of terror, but Halloween paved the road for countless others.
It is so easy to put a random person in black clothing and a mask, and have them slaughter countless victims. Halloween proved that by lowering the body count, and distancing the audience from the villain, an aura of mystery, and an ominous feeling of uncertainty can render a basic premise unflinchable to the pupils. Michael himself is an enigma that represents all which is petrifying. He stalks his prey slowly and steadily, but never loses track, and is always observed in the shadows, or partially hidden. Carpenter knew how to capture Michael calmly, only exposing him at carefully chosen moments.
Only in a few films can typical conversation by seemingly normal characters cause us to squirm and shuffle in our seats awkwardly. As they sit and discuss such mesmerizing topics as having sex with boyfriends or babysitting, we know what evil is lurking in the background, or around the corner, but the fact that no one can predict when Michael will make his move, is increasingly daunting. Sometimes the score or theme can trigger us to anticipate the worst, but in Halloween, it is not abused, but applied with skill and restraint.
Jamie Lee Curtis is Laurie Strode, the sister of Michael Myers, and central target for his vengeance. Because of this part she would go on to play four times, she was dubbed the "Scream Queen." Curtis is admirable at best. There is nothing wrong with her acting ability here, but she has a relatively easy task as the victim. Curtis's strengths are by depicting Laurie as average, not exaggerated, or more on the verge of cinematically artificial. The performance is mediocre, hence so is Laurie, ending as a believable personality.
It is Donald Pleasance's Dr. Samuel Loomis that is three-dimensionally fascinating and demands attention. He has studied and examined Michael for years, and understands what his plans are before the menace can grasp or fully execute them. His desperate pleas for local authorities to listen and take precautions escalate the degrees of pressure and friction magnificently.
I have always felt that John Carpenter was an underrated filmmaker. The crisp and taut work he supplies is consistently distinguishing edge of your seat chills and thrills. He should be recognized for added efforts, but it goes without saying that Halloween was his finest hour. When it is all set and done, regardless of how many prequels and sequels viewers trudge through, this peak of Carpenter's powers will proudly remain firm in the hearts of millions as groundbreaking horror entertainment.
2nd Place
3rd Place
I is for…
It's a Wonderful Life
It's a Wonderful Life
Directed By: Frank Capra Written By: Frank Capra, Frances Goodrich, Albert Hackett, JO Swerling, and Michael Wilson Starring: James Stewart, Donna Reed, and Lionel Barrymore Release Date: December 20, 1046 The Plot: An angel helps a compassionate but despairingly frustrated businessman by showing what life would had been like if he never existed. Oscar Victories: None Alphabet Trivia: What Sesame Street characters were later named after characters from It's a Wonderful Life?
The ultimate Christmas flick in every sense of the word. The casual theater attendees forget sometimes just how special, delightful, and rousing this tale is since it can be found in constant replays during the holiday season along with A Christmas Story. We all surf the channels and catch clips of it from time to time. I did this for years and never actually saw the entire film from beginning to end. But when you sit down and soak up the genius of Director Frank Capra, and the marvelous visualization he intended to convey, the sheer immaculateness is impractical to neglect.
Most of the time, we forget about Christmas movies and music until that season arrives, and then the CD's, tapes, and DVD's are dug out so families can relive them gleefully. While It's a Wonderful Life is commonly associated with December 25th, and for good reason, the story maintains its strength and poignancy regardless of what month it may be. Confining this stimulating fable to one section of the year is undoubtedly unjust and unfair. It is eternal because of that compassionate message that runs deep through the bloodstream of the plot. All of us can be important, substantial, and helpful if we so choose.
This of course is not the sole theme that is integrated, but it is the fundamental one. The subject matter most will cite is what the world would be like if we were never born. It would be a lie to say the thought never crossed our minds. George Bailey is given a glimpse at this from the angel Clarence after he serious contemplates suicide when his family owned business encounters trouble. This is however, a small portion of the story compared to that of George growing up in his town of Bedford Falls, meeting his wife Mary, and inheriting his father's Savings & Loan Company.
This outline has been redone, rehashed, and resurrected endless times since Frank Capra's classic was unveiled, whether it be The Family Man, Click, or Bruce Almighty. The original is always the best, and for a filmmaker like Frank Capra, this was familiar, yet cozy and amiable territory. He was never a convoluted or multifaceted filmmaker, but one who evoked the spirit of ordinary citizens like no one else. He explored small town integrity battling diplomatic greed on several occasions (Mr. Smith Goes to Washington, Mr. Deeds Goes to Town), but dependably, in a manner that was continually inimitable and enriching.
It's a Wonderful Life establishes that even the most predictable narratives can be enthralling, emotional, and nurturing. Even an infant can discern where George will end up, but Capra did the wise play by spotlighting the characters and their purpose rather than exaggerating the famous fantasy ingredients. Capra's techniques were uncomplicated and forthright, but sporadically startling. His shots were very plain in implementation. He saved certain angles and close-ups for specific moments, thus swelling their magnitude and connotation. An unexpected sequence is definitely when an image of older George is frozen so the angels stars can speak to one another.
Unless you are a film buff, it might strike you as odd that It's a Wonderful Life was not a box office or critical success. Point in fact, it barely raked in its budget, and all the nominations it received at the Academy Awards ceremony were lost. The reason we watch it ever year on television, and really don't need to own it on any format is because the copyrights of the film expired and it landed in public domain, hence allowing any station the freedom to toss it around.
James Stewart had just returned from World War II, and was not incredibly anxious to delve into roles of this enormity because he thought he was rusty. Stewart had been typecast as a self-effacing conventional man, but that would soon disappear. Obviously he accepted, immediately found his niche again, but a whole new door was opened for him. His iconic performance would disclose the extent of his range, and usher in many new parts which were much darker and broader. Stewart is fabulous as George Bailey, but who could have thought any different. Like Tom Hanks, Stewart could do almost anything, and incessantly preserved his affable, good-natured qualities.
Donna Reed is Mary, once his high school sweetheart, eventually his wife, and mother to his children. Reed is stunning, supportive, and sanguine to her husband. Reed elevates this pedestrian function to one of credence and meaning. She is exactly what George needs to survive. Lionel Barrymore is equally as sensational as the malicious and horrible Potter, no not Harry, but the stingy old coot whose singular priority is to own all of Bedford Falls. Henry Travers warrants exclusive reference for his stupendous effort as the lovably encouraging angle Clarence.
It's a Wonderful Life was based on a short story by Philip Van Doren Stern called The Greatest Gift. It was translated to the big screen and filmed at an RKO ranch and studio with a street that ran three city blocks. Because of the high production costs and grueling competition, the imperishable lifespan would not commence until many years later. All of us have those special films that get better with each viewing, but It's a Wonderful Life holds that claim with more folks than probably any other motion picture. Capra's gratifying staple of winter is forever spellbinding.
2nd Place
3rd Place
J is for…
Judgment at Nuremberg
Judgment at Nuremberg
Directed By: Stanley Kramer Written By: Abby Mann and Montgomery Clift Starring: Spencer Tracy, Burt Lancaster, Richard Widmark, Maximilian Schell, Marlene Dietrich, Montgomery Clift, and Judy Garland Release Date: August 15, 1979 The Plot: In 1948, an American court in occupied Germany tries four Nazi judges for war crimes. Oscar Victories: Best Actor in a Leading Role (Schell) and Best Writing (Screenplay Based on Material from Another Medium) Alphabet Trivia: What is significant about Maximilian Schell's lead Oscar win?
In the pantheon of courtroom dramas, hundreds are average and elapsed forever, but only a select few are revered through time. It is easier for capable actors to verbalize their talents in such a setting, so films of the genre need to furnish more than just that to be impressive and noteworthy. The cast and crew must fashion something that will grab the viewers awareness for long enough, and with enough dedication so they carry it with them permanently after the final credits roll. However, when a cast is this uniformly excellent, no one can deny the power of Judgment at Nuremberg, Director Stanley Kramer's finest achievement.
What makes Judgment at Nuremberg such a remarkable piece of cinema is how it avoids exploiting the Nazi trials by fictionalizing them, but draws the audience in so ferociously that we are desperate for more history on the cases. Kramer does not nibble at the touchy material, but really sinks his teeth in hard so at to keep us on the edge of our seat. The questions are so thought provoking and intelligent, and each scene so absorbing that the three plus hour running time will fly by with ease. The fact that it does last that long might scare you a little, but a vast scope was crucial in fully exploring all the vital issues at hand.
The year is 1948, and Nazi trials are coming to a close, but what are left are the judges and doctors, whose positions of authority advocated the mandates of the regime when it was at its peak. Retired Chief Judge Dan Haywood is given the daunting task of leading a tribunal of judges through a strenuous case. Haywood is played with delicate magnetism by Spencer Tracy, who fleshes out this man who has just been defeated back home for his usual seat, and is now in a foreign country responsible for a verdict that is more important that anything he has encountered in the past. He tours the area of Nuremberg, listens to the opinions of its residents, and swallows all of what folks are saying about the individuals being tried. He doesn't know what to think or how to react to some of the comments being made. The myriad ramifications could rock the globe.
There isn't a weak performance to be found amongst this crowd of all-stars. Montgomery Clift, in one of his final roles, only appears for a short time, but his efforts on the stand are irreplaceable and unbelievable as a Rudolph Petersen, a feeble minded victim of forced sterilization. Judy Garland is also harrowingly heartrending as Irene Hoffman, a woman falsely accused of having sexual relations with a Jewish family friend. Marlene Dietrich is Mrs. Berholt, and she is simply invigorating and exceptional in a sensitive part of an older widow developing feelings for Judge Haywood, yet vocalizing the shame for her country. Dietrich just happens to be in my other favorite courtroom drama, Witness for the Prosecution.
Maximilian Schell is a firestorm of adept dialogue and intense delivery. He is the defense attorney Herr Rolfe, put in the position of building a case that will confirm that his four clients were not accountable for the atrocities during the Nazi's reign. Schell reprised his role from the television version. He is above brilliant in an extraordinary in this portrayal of a lawyer. Richard Widmark is the prosecution attorney, a Colonel who saw first hand how abominable the concentration camp remnants were. Widmark is not often praised, but he is splendid all around, especially when he thinks the tribunal's tide is turning in favor of Rolfe's arguments. Finally Burt Lancaster is Ernst Janning, a judge whose final ruling on numerous cases sent folks to their eminent deaths. He sits silently, a man torn and broken down by his place in such tragic events. Lancaster is a legend, and by sitting motionless in a chair with a stern expression of frustration and anger on his face, hardly uttering any words until the concluding section of film, he is incredibly potent.
Some moments in cinema are treasured, revered, admired, or just iconic. Words cannot articulate the emotion that swirls inside of you when Colonel Lawson shows the videos taken from the Dachau concentration camp. The images are lingering and unbearable. Judgment at Nuremberg, and for that matter, Director Stanley Kramer himself are so frequently overlooked when discussion and debate on film history is brought up. It's a Mad Mad Mad Mad World and Guess Who's Coming to Dinner are two more meritorious triumphs to his resume. The complaints most have of Judgment are all dependent on the opinion of the viewer. The length and specific performances are the most familiar ones I have found, that is rare, and the majority acknowledges this as the masterpiece is truly is.
A great technique Kramer implements to hypnotize the audience and hurdle the language barrier is by initially conveying that the German characters speak Deutsch, and the English speak English with everyone listening in headsets. However as Herr Rolfe is in mid speech, it switches from German to English, thus preventing endless subtitles. This occurs so seamlessly and effortlessly that is easily unnoticed. The situations outside the courtroom are important as well. Kramer and company communicate that the German citizens are continuing to recover and restructure the country after living through Hitler. Kramer allows his cast ample amounts of room to exercise and stir adrenaline in any location. There are some fantastic shots in the courtroom in which Cinematographer Ernest Laszlo circles around the characters, or other angles and zooms that emphasize the assets of various actors superbly.
Back and forth our opinions bounce from beginning to end. That is how persuasive the disputes from both sides are. At the heart of this case though is the question of how far down the ladder the consequences of particular decisions and orders stop? Should people disobey strict orders at the cost of their own lives? Several more insightful and sincere thoughts arise amidst the testimonies and statements. In the meantime, the Cold War is brewing, and Lawson's superiors are pushing him to avoid being harsh on the Germans since their aid will be needed in the future. The principals presented here still exist and require answers. That is why Judgment at Nuremberg is such a distinguished piece of entertainment. The messages might not have aged as smoothly as other classics, but nonetheless, they are pertinent.
2nd Place
3rd Place
Trivia answers: F) Ice Cube, G) Jimmy "The Gent", H) "The Babysitter Murders" I) Bert and Ernie, J) He was the lowest billed lead to ever win an Oscar (5th billing)
