Once the
trendy
liberal causes that Stanley Kramer embraced in his films had become
passé, the world stood back and realized what a modestly talented
director he really was. People don't talk in Kramer films,
they
trade windy speeches back and forth. And Kramer's knowledge
of
cinematic technique apparently ended once he made sure there was film
in the camera. Keep in mind that this was the guy who
assembled
the greatest comic talent in America for IT'S A MAD, MAD, MAD, MAD
WORLD and could only turn out a mediocre picture.
But once in his career the
million - monkeys -
with - a- million - typewriters syndrome took over, the result was
JUDGMENT AT NUREMBERG. The Nazi war crimes trials provided
appropriate, and director-proof, material for Kramer's
pontificating. The film is made all the more compelling with
writer Abby Mann's decision to focus on the later trials at Nuremberg,
after the big guns of the Nazi regime had been sentenced to their
fates. Goering, Hess, Speer, et al, were easy targets of
evil;
JUDGMENT instead deals with the Nazi judges who sent innocent people to
their deaths for such "crimes" as fraternizing with Jews.
Should
they be prosecuted to the full extent of international law, or pardoned
because they were "merely following orders?" Standout acting
performances are delivered by Spencer Tracy as wizened American judge
Dan Haywood, the rock-solid moral center of the film; and Maximilian
Schell, whose dynamic portrayal as the judges' defense lawyer earned
him the Academy Award for best actor. Perhaps even more
notable
were Judy Garland and Montgomery Clift, who each make the most of their
short but meaty roles as tragic figures on the witness stand; both were
nominated for Oscars in the supporting categories.
½ - JL