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Producer: Alexander Salkind, Michael Salkind Director: Orson Welles Screenplay: Orson Welles, based on the novel by Franz Kafka Art Direction: Jean MandarouxCinematography: Edmond RichardCostume Design: Helen ThibaultFilm Editing: Orson Welles, Yvonne Martin, Fritz MullerOriginal Music: Jean Ledrut Principal Cast: Anthony Perkins (Joseph K.), Jeanne Moreau (Miss Burstner), Romy Schneider (Leni), Elsa Martinelli (Hilda), Suzanne Flon (Miss Pittl), Akim Tamiroff (Bloch), Michael Lonsdale (priest), Thomas Holtzmann (Bert), Jess Hahn (Second Assistant Inspector), Orson Welles (Albert Hassler).BW-120m. Letterboxed.by Jeff Stafford The Trial You wouldn't think that the existential and often ambiguous dream-fiction of Austrian novelist Franz Kafka would translate easily to the screen but that hasn't stopped filmmakers from attempting to visually recreate his troubling tales about modern man. Since the early sixties, there have been more than twenty film adaptations based on his novels and stories and even a few original concoctions, such as Steven Soderbergh's bizarre black comedy, Kafka (1991) and the amusing spoof, Franz Kafka's It's a Wonderful Life (1993), which won an Oscar in the short subjects category. Actor/director Maximilian Schell filmed a version of The Castle in 1968 and there have been movie versions of Metamorphosis, Amerika, and The Penal Colony. Without a doubt, one of the most successful adaptations of a Kafka novel is The Trial (1963) a.k.a. Le Proces, directed by Orson Welles. No less visually stunning than Welles' masterpiece, Citizen Kane (1941), The Trial depicts the nightmarish existence of Joseph K (Anthony Perkins), a clerk who is accused of an unspecified crime, and then begins an elaborate search for justice within a labyrinth of office buildings populated by dehumanized bureaucrats. The film project began with the father-son producing team of Michel and Alexander Salkind who first worked with Welles on their production of Austerlitz (1960), a historic epic directed by Abel Gance. A few years later, when they offered Welles a part in Taras Bulba (1962), their discussions led to an offer for Welles to direct a literary classic from a list of over a hundred titles. In This is Orson Welles by Peter Bogdanovich (HarperPerennial), Welles said, "They had Kafka's The Trial on the list, and I said I wanted to do The Castle because I liked it better, but they persuaded me to do The Trial. I had to do a book - couldn't make them do an original....They thought The Trial was public domain, and then had to pay for it - but that's another story." Like most films Welles directed after he fled the studio system in Hollywood, The Trial encountered numerous production problems. Filming was scheduled to begin in Zagreb, Yugoslavia, but was soon abandoned for lack of funds. Welles recalled, "I spent months designing the sets for all the interiors. We were going to shoot the actual big office and the streets of Prague and Zagreb for the last walk with the murderers. And during the time we were in Zagreb, my sets were to be built in the studios. The art director who was to realize my designs had made all the blueprints, everything was ready to go, and, the night before we were to leave for Yugoslavia, Mr. Salkind....said there was no money to build any sets of any kind." But what appeared to be a huge setback for the film turned out to be a lucky break for the director. Welles said that "I was living here (in Paris), at the Hotel Meurisse - it was late at night - wandering around in the sitting room, trying to figure out how to shoot without sets, this story in particular. And the moon is a very important thing for me, and I looked out of the window and saw two full moons. And then I realized that they were the two clock faces of the Gare d'Orsay glowing in the night, and it was really a sign. I went down at four in the morning and got in a taxi and went to the Gare d'Orsay and went in. And from four in the morning until dawn, I wandered around the deserted old railway station and found everything I needed for the picture." While securing the once famous French train station as the main set was a coup for Welles, there were other production headaches. For a sequence filmed on Mount Vesuvius near Naples, Anthony Perkins and Welles almost tumbled into the crater trying to get a shot. Scheduling restrictions and lack of money also played havoc with Welles' preferred choice of players and when he couldn't find a suitable actor to play Hassler, the defense attorney, he took on the role himself. He also had to loop the dialogue, music, and sound effects for the entire film in post-production. After a less than favorable opening at the Venice Film Festival in 1962, The Trial has since grown in stature among film scholars over the years and even the director admitted that it "is the best film I ever made." Anthony Perkins, once considered an odd choice as Joseph K, is perfect in the role, conveying the character's paranoia and mounting desperation. In preparation for the part, Perkins was given some artistic motivation by Welles: "You are pinned to the wall with a thumbtack, you are like a sick moth." Throughout the film, Welles stays remarkably faithful to Kafka's novel with a few exceptions, such as the climax that ends with a nuclear explosion instead of a stabbing. Yet, in the end, Welles differs from Kafka in how he views Joseph K: "He is a little bureaucrat. I consider him guilty....He belongs to a guilty society; he collaborates with it." Producer: Alexander Salkind, Michael Salkind Director: Orson Welles Screenplay: Orson Welles, based on the novel by Franz Kafka Art Direction: Jean MandarouxCinematography: Edmond RichardCostume Design: Helen ThibaultFilm Editing: Orson Welles, Yvonne Martin, Fritz MullerOriginal Music: Jean Ledrut Principal Cast: Anthony Perkins (Joseph K.), Jeanne Moreau (Miss Burstner), Romy Schneider (Leni), Elsa Martinelli (Hilda), Suzanne Flon (Miss Pittl), Akim Tamiroff (Bloch), Michael Lonsdale (priest), Thomas Holtzmann (Bert), Jess Hahn (Second Assistant Inspector), Orson Welles (Albert Hassler).BW-120m. Letterboxed.by Jeff Stafford Judgment at Nuremberg November 25, 2002
Share Dan Haywood is a New England judge who is sent to Nuremberg, Germany in 1948 to preside over a war crimes trial against a group of German judges, including the German Minister of Justice Ernst Janning, charged with using the court system to further the cause of the Nazi regime. A pair of witnesses testifies against Janning: a victim of medical sterilization and the German friend of a Jew who was wrongly executed for having intimate relations with her, thereby "polluting the Aryan race." Janning is zealously and unapologetically defended by brilliant young lawyer Hans Rolfe (Maximilian Schell). Due to the Soviet blockade of Berlin, Haywood is placed under additional pressure not to alienate the Germans with a harsh sentence on the respected judge. Ultimately, Judge Haywood finds himself confronting the difficult issue of collective, as well as individual guilt. Abby Mann's Academy Award-winning script for Judgment at Nuremberg (1961), a fictional account set during the 1948-49 Nuremberg trials, had previously been made into a 1959 teleplay for Playhouse 90, directed by George Roy Hill and featuring Claude Rains as Haywood and Paul Lukas in a standout performance as Ernst Janning. It was notable as one of the first attempts by Hollywood to address the crimes of the Third Reich, going so far as to incorporate actual concentration camp footage. The courtroom set was a detailed reconstruction of the actual Nuremberg court, set on rollers to facilitate the long takes and 360-degree pans which help distinguish the visual style of the film from the usual static courtroom drama format. For Montgomery Clift, his role as the mentally and physically ravaged Rudolph Peterson was something of a personal triumph. His career had hit a low point due to his increasingly erratic behavior both on and off the set. This was no doubt compounded by the car accident in 1957, which resulted in facial scarring that damaged his legendary good looks. After meeting with Stanley Kramer, he offered to accept the part for only a token fee, mainly reimbursement of personal expenses. He explained in a New York Times interview: "Since it's only a single scene and can be filmed in one day, I strongly disapproved of taking an astronomical salary. But in the business I felt it was more practical to do it for nothing rather than reduce my price or refuse to do a role I wanted to play." During the shoot he drank almost constantly, trembled visibly and had difficulty remembering his lines. Thanks to the consideration and support of co-star Spencer Tracy, Clift's still considerable talent shines through in the brief role and ultimately earned him a Best Supporting Actor nomination. Judy Garland, who struggled to overcome not dissimilar personal problems, was likewise nominated for Best Supporting Actress. However, they both lost out to George Chakiris and Rita Moreno in West Side Story (1961). Spencer Tracy and Maximilian Schell received Academy Award nominations for Best Actor; Schell won for his powerful performance as the defense counsel, a role which he had repeated from the original teleplay. Kongress Halle in Berlin provided the setting for the premiere of Judgment at Nuremberg, and included a lavish press junket which flew in over a hundred journalists at the cost of approximately $150,000. Neither Burt Lancaster nor Marlene Dietrich attended the event, the latter most likely because of her history of tense relations with Germany ever since her departure to the US in the 1930s and her denunciation of the Third Reich. The film's reception was controversial, winning acclaim by the foreign press and loud complaints by the German press for its unwelcome scrutiny of the past. The Mayor of West Berlin, Willy Brandt, said at the premiere: "The film Judgment at Nuremberg, which will raise a great many questions, is ensuring by its world premiere in Berlin that its own importance as well as that of Berlin as a center of spiritual conflict are heavily underlined... I hope that world-wide discussion will be aroused by both this film and this city, and that this will contribute to the strengthening of right and justice." In spite of the film's length and grim subject matter it was a solid box-office success, earning $5,500,000 in rentals.Producer/Director: Stanley KramerScreenplay: Abby MannCinematography: Ernest LaszloEditing: Frederic KnudtsonMusic: Ernest GoldArt Direction: Rudolph Sternad and George MiloCostume Design: Jean LouisPrincipal Cast: Spencer Tracy (Judge Dan Haywood); Burt Lancaster (Ernst Janning); Richard Widmark (Col. Tad Lawson), Marlene Dietrich (Mme. Bertholt), Maximilian Schell (Hans Rolfe), Judy Garland (Irene Hoffman), Montgomery Clift (Rudolph Petersen), William Shatner (Capt. Harrison Byers), Werner Klemperer (Emil Hahn).BW-187m. Letterboxed.by James Steffen Judgment at Nuremberg Dan Haywood is a New England judge who is sent to Nuremberg, Germany in 1948 to preside over a war crimes trial against a group of German judges, including the German Minister of Justice Ernst Janning, charged with using the court system to further the cause of the Nazi regime. A pair of witnesses testifies against Janning: a victim of medical sterilization and the German friend of a Jew who was wrongly executed for having intimate relations with her, thereby "polluting the Aryan race." Janning is zealously and unapologetically defended by brilliant young lawyer Hans Rolfe (Maximilian Schell). Due to the Soviet blockade of Berlin, Haywood is placed under additional pressure not to alienate the Germans with a harsh sentence on the respected judge. Ultimately, Judge Haywood finds himself confronting the difficult issue of collective, as well as individual guilt. Abby Mann's Academy Award-winning script for Judgment at Nuremberg (1961), a fictional account set during the 1948-49 Nuremberg trials, had previously been made into a 1959 teleplay for Playhouse 90, directed by George Roy Hill and featuring Claude Rains as Haywood and Paul Lukas in a standout performance as Ernst Janning. It was notable as one of the first attempts by Hollywood to address the crimes of the Third Reich, going so far as to incorporate actual concentration camp footage. The courtroom set was a detailed reconstruction of the actual Nuremberg court, set on rollers to facilitate the long takes and 360-degree pans which help distinguish the visual style of the film from the usual static courtroom drama format. For Montgomery Clift, his role as the mentally and physically ravaged Rudolph Peterson was something of a personal triumph. His career had hit a low point due to his increasingly erratic behavior both on and off the set. This was no doubt compounded by the car accident in 1957, which resulted in facial scarring that damaged his legendary good looks. After meeting with Stanley Kramer, he offered to accept the part for only a token fee, mainly reimbursement of personal expenses. He explained in a New York Times interview: "Since it's only a single scene and can be filmed in one day, I strongly disapproved of taking an astronomical salary. But in the business I felt it was more practical to do it for nothing rather than reduce my price or refuse to do a role I wanted to play." During the shoot he drank almost constantly, trembled visibly and had difficulty remembering his lines. Thanks to the consideration and support of co-star Spencer Tracy, Clift's still considerable talent shines through in the brief role and ultimately earned him a Best Supporting Actor nomination. Judy Garland, who struggled to overcome not dissimilar personal problems, was likewise nominated for Best Supporting Actress. However, they both lost out to George Chakiris and Rita Moreno in West Side Story (1961). Spencer Tracy and Maximilian Schell received Academy Award nominations for Best Actor; Schell won for his powerful performance as the defense counsel, a role which he had repeated from the original teleplay. Kongress Halle in Berlin provided the setting for the premiere of Judgment at Nuremberg, and included a lavish press junket which flew in over a hundred journalists at the cost of approximately $150,000. Neither Burt Lancaster nor Marlene Dietrich attended the event, the latter most likely because of her history of tense relations with Germany ever since her departure to the US in the 1930s and her denunciation of the Third Reich. The film's reception was controversial, winning acclaim by the foreign press and loud complaints by the German press for its unwelcome scrutiny of the past. The Mayor of West Berlin, Willy Brandt, said at the premiere: "The film Judgment at Nuremberg, which will raise a great many questions, is ensuring by its world premiere in Berlin that its own importance as well as that of Berlin as a center of spiritual conflict are heavily underlined... I hope that world-wide discussion will be aroused by both this film and this city, and that this will contribute to the strengthening of right and justice." In spite of the film's length and grim subject matter it was a solid box-office success, earning $5,500,000 in rentals.Producer/Director: Stanley KramerScreenplay: Abby MannCinematography: Ernest LaszloEditing: Frederic KnudtsonMusic: Ernest GoldArt Direction: Rudolph Sternad and George MiloCostume Design: Jean LouisPrincipal Cast: Spencer Tracy (Judge Dan Haywood); Burt Lancaster (Ernst Janning); Richard Widmark (Col. Tad Lawson), Marlene Dietrich (Mme. Bertholt), Maximilian Schell (Hans Rolfe), Judy Garland (Irene Hoffman), Montgomery Clift (Rudolph Petersen), William Shatner (Capt. Harrison Byers), Werner Klemperer (Emil Hahn).BW-187m. Letterboxed.by James Steffen Critics' Corner - Judgment at Nuremberg January 21, 2010
Share Awards & HonorsJudgment at Nuremberg received Academy Awards for Best Actor (Maximilian Schell) and Screenplay Based on Material from Another Medium (Abby Mann). It also garnered nominations for Best Picture, Director (Stanley Kramer), Actor (Spencer Tracy), Supporting Actor (Montgomery Clift), Supporting Actress (Judy Garland), Art Direction-Set Decoration, Black-and-White (Rudolph Sternad, George Milo), Cinematography, Black-and-White (Ernest Laszlo), Editing (Frederic Knudtson), and Costume Design, Black-and-White (Jean Louis). Kramer was also given the Irving G. Thalberg Memorial Award, presented to producers whose work reflects "a consistently high quality of motion picture production."Other honors included Golden Globe Awards for Schell and Kramer (Actor, Director) and nominations for Best Motion Picture Drama, Supporting Actor and Actress (Clift, Garland), Best Film Promoting International Understanding- The New York Film Critics Circle Awards to Schell (Best Actor), Mann (Best Screenplay)- Directors Guild of America nomination for Kramer- The Writers Guild of America nomination for Mann's screenplay- Laurel Awards (Producers Guild of America): 2nd Place Cinematography and Male Dramatic Performance (Schell), 3rd Place Drama Film, Nominations for Clift's and Garland's Supporting Performances- British Academy Award nominations for Best Film from Any Source, Best Foreign Actor (Schell and Clift)- American Cinema Editors nomination for Frederic Knudtson- Bodil Award (Denmark) for Best Non-European Film- Cinema Writers Circle Award (Spain) for Best Foreign Film- David di Donatello Award (Italy) for Best Foreign Film- Italian National Syndicate of Film Journalists Silver Ribbon Award for Best Foreign Film Director- Fotogramas de Plata Award (Spain) for Best Foreign Performer (Tracy)by Rob NixonThe Critics' Corner: JUDGMENT AT NUREMBERG"Stanley Kramer is one of the few men in Hollywood with the courage to face, to discuss and risk his time and money on pictures that have something to say." Cue magazine, 1961 "Mr. Kramer and his incisive scriptwriter, Abby Mann, ... have cut through the specious arguments, the sentiments for mercy, and the reasonings for compromise, and have accomplished a fine dramatic statement of moral probity. They have used the motion picture to clarify and communicate a stirring, sobering message to the world. ... The major weakness, perhaps, of the whole thing is that it is inevitably compressive and sometimes glib. The strength and wonder of it is that it manages to say so much that still needs to be said." Bosley Crowther, New York Times, December 20, 1961"Defense Attorney Schell is permitted a pulverizing passage of eloquence in which he reminds the court (and the world) that in varying degrees the Soviet Union, the United States, the Vatican and even Winston Churchill (who as late as 1937 praised Hitler's 'courage, perseverance and vital force') must share with the German people the blame for Nazi times and crimes. At another point Schell makes a withering deprecation of the victor's right to judge the vanquished. 'Is Hiroshima,' he wonders, 'the superior morality?' And there are several scenes of punishing mockery in which U.S. authorities, worried by Russian aggressiveness and anxious to win the support of the German public, try to persuade Judge Tracy to acquit the defendants. Do they essentially differ, Kramer asks, from the Nazi politicians who put pressure on the very German judges Tracy is trying?Such moments come too seldom. On the whole, director Kramer has almost arrogantly exceeded his judicial warrant. He has also crudely mismanaged both actors and camera, and has carelessly permitted several reels of fat to accumulate around the movie's middle." Time, December 15, 1961"It is a powerful film, carefully wrought, soberly written, ably acted. It raises questions of great seriousness. It handles these issues with dignity and passion. Yet its impact is that of a brilliant but confused polemic. It has the raw force of an eloquent pamphlet without clear direction or logical conclusion. [Kramer] whirls the camera around the courtroom in an ingenious and generally successful effort to relieve the tedium of the trial format. He resists the temptation to use flashbacks, that hopeless cliché of the courtroom drama. Indeed, restraint marks the whole movie after the clumsiness of the first quarter-hour. ... The single departure from this restraintthe sequence of concentration camp shotsis wholly justified." Historian Arthur Schlesinger, Jr., Show magazine, 1961"The reservations one may entertain...must be tempered with appreciation of the film's intrinsic value as a work of historical significance and timeless philosophical merit. ... Abby Mann's intelligent, thought-provoking screenplay is a grim reminder of man's responsibility to denounce grave evils of which he is aware. The lesson is carefully, tastefully, and upliftingly told via Kramer's large-scale production." Dick Williams, Los Angeles Mirror, 1961"Tracy delivers a performance of great intelligence and intuition. He creates a gentle, but towering, figure, compassionate but realistic, warm but objective. Schell repeats the role he originated, with electric effect, on the TV program, and again he brings to it a fierce vigor, sincerity and nationalistic pride. Widmark is effective as the prosecutor ultimately willing to compromise and soft-pedal his passion for stiff justice when the brass gives the political word." Variety"Miss Dietrich does remain herself as far as charm is concerned, but her performance is integral to the story. As a German aristocrat she has just the proper air of world-weariness, the veiled arrogance tempered with sensitivity." Paul V. Beckley, New York Herald Tribune, 1961"The success of [Kramer's] more than three-hour-long motion picture is twofold: he has put on the screen an entirely absorbing story, and he has provided thoughtful insights into the nature of Nazism and its hold on the German people." Hollis Alpert, Saturday Review, 1961"An all-star concentration camp drama, with special guest-victim appearances." Gavin Lambert, Film Quarterly, December 1961/January 1962"An intrepid indictment not of authoritarianism in the abstract, not of the trials themselves, not of the various moral and legal issues involved, but of Nazi war atrocities, about which there would have seemed already to be some consensus." Joan Didion, Slouching Towards Bethlehem (Simon & Schuster, 1968)"If they notice your 'show off' camera, the mood goes out the window. Stanley Kramer's 360-degree pan in the courtroom...served only to distract attention from his tense drama." director Frank Capra, 1971"One of the strengths of the three-hour film is that it is painstaking in illustrating Haywood's German education. Mr. Mann's Oscar-winning screenplay told its story largely through Haywood's experience, and in Spencer Tracy's somber and steely performance his delving into the lives of ordinary Germans who submitted to Hitler becomes a powerful narrative all by itself, the story of a fair man bending over backward to see the world from a perspective that baffles and horrifies him." Bruce Weber, New York Times, March 27, 2001, in a review of the stage version then mounted on Broadway"This assembly of star turns in the court...are often very impressive. Tracy puts in an effortlessly brilliant performance as the superjudge, and Clift as a confused Nazi victim is painfully convincing in his emotional disintegration. There are no surprises in the direction, and Abby Mann's screenplay plays the expected tunes, but there's enough conviction on display to reward a patient spectator." David Thomson, Time Out Film Guide Critics' Corner - Judgment at Nuremberg Awards & HonorsJudgment at Nuremberg received Academy Awards for Best Actor (Maximilian Schell) and Screenplay Based on Material from Another Medium (Abby Mann). It also garnered nominations for Best Picture, Director (Stanley Kramer), Actor (Spencer Tracy), Supporting Actor (Montgomery Clift), Supporting Actress (Judy Garland), Art Direction-Set Decoration, Black-and-White (Rudolph Sternad, George Milo), Cinematography, Black-and-White (Ernest Laszlo), Editing (Frederic Knudtson), and Costume Design, Black-and-White (Jean Louis). Kramer was also given the Irving G. Thalberg Memorial Award, presented to producers whose work reflects "a consistently high quality of motion picture production."Other honors included Golden Globe Awards for Schell and Kramer (Actor, Director) and nominations for Best Motion Picture Drama, Supporting Actor and Actress (Clift, Garland), Best Film Promoting International Understanding- The New York Film Critics Circle Awards to Schell (Best Actor), Mann (Best Screenplay)- Directors Guild of America nomination for Kramer- The Writers Guild of America nomination for Mann's screenplay- Laurel Awards (Producers Guild of America): 2nd Place Cinematography and Male Dramatic Performance (Schell), 3rd Place Drama Film, Nominations for Clift's and Garland's Supporting Performances- British Academy Award nominations for Best Film from Any Source, Best Foreign Actor (Schell and Clift)- American Cinema Editors nomination for Frederic Knudtson- Bodil Award (Denmark) for Best Non-European Film- Cinema Writers Circle Award (Spain) for Best Foreign Film- David di Donatello Award (Italy) for Best Foreign Film- Italian National Syndicate of Film Journalists Silver Ribbon Award for Best Foreign Film Director- Fotogramas de Plata Award (Spain) for Best Foreign Performer (Tracy)by Rob NixonThe Critics' Corner: JUDGMENT AT NUREMBERG"Stanley Kramer is one of the few men in Hollywood with the courage to face, to discuss and risk his time and money on pictures that have something to say." Cue magazine, 1961 "Mr. Kramer and his incisive scriptwriter, Abby Mann, ... have cut through the specious arguments, the sentiments for mercy, and the reasonings for compromise, and have accomplished a fine dramatic statement of moral probity. They have used the motion picture to clarify and communicate a stirring, sobering message to the world. ... The major weakness, perhaps, of the whole thing is that it is inevitably compressive and sometimes glib. The strength and wonder of it is that it manages to say so much that still needs to be said." Bosley Crowther, New York Times, December 20, 1961"Defense Attorney Schell is permitted a pulverizing passage of eloquence in which he reminds the court (and the world) that in varying degrees the Soviet Union, the United States, the Vatican and even Winston Churchill (who as late as 1937 praised Hitler's 'courage, perseverance and vital force') must share with the German people the blame for Nazi times and crimes. At another point Schell makes a withering deprecation of the victor's right to judge the vanquished. 'Is Hiroshima,' he wonders, 'the superior morality?' And there are several scenes of punishing mockery in which U.S. authorities, worried by Russian aggressiveness and anxious to win the support of the German public, try to persuade Judge Tracy to acquit the defendants. Do they essentially differ, Kramer asks, from the Nazi politicians who put pressure on the very German judges Tracy is trying?Such moments come too seldom. On the whole, director Kramer has almost arrogantly exceeded his judicial warrant. He has also crudely mismanaged both actors and camera, and has carelessly permitted several reels of fat to accumulate around the movie's middle." Time, December 15, 1961"It is a powerful film, carefully wrought, soberly written, ably acted. It raises questions of great seriousness. It handles these issues with dignity and passion. Yet its impact is that of a brilliant but confused polemic. It has the raw force of an eloquent pamphlet without clear direction or logical conclusion. [Kramer] whirls the camera around the courtroom in an ingenious and generally successful effort to relieve the tedium of the trial format. He resists the temptation to use flashbacks, that hopeless cliché of the courtroom drama. Indeed, restraint marks the whole movie after the clumsiness of the first quarter-hour. ... The single departure from this restraintthe sequence of concentration camp shotsis wholly justified." Historian Arthur Schlesinger, Jr., Show magazine, 1961"The reservations one may entertain...must be tempered with appreciation of the film's intrinsic value as a work of historical significance and timeless philosophical merit. ... Abby Mann's intelligent, thought-provoking screenplay is a grim reminder of man's responsibility to denounce grave evils of which he is aware. The lesson is carefully, tastefully, and upliftingly told via Kramer's large-scale production." Dick Williams, Los Angeles Mirror, 1961"Tracy delivers a performance of great intelligence and intuition. He creates a gentle, but towering, figure, compassionate but realistic, warm but objective. Schell repeats the role he originated, with electric effect, on the TV program, and again he brings to it a fierce vigor, sincerity and nationalistic pride. Widmark is effective as the prosecutor ultimately willing to compromise and soft-pedal his passion for stiff justice when the brass gives the political word." Variety"Miss Dietrich does remain herself as far as charm is concerned, but her performance is integral to the story. As a German aristocrat she has just the proper air of world-weariness, the veiled arrogance tempered with sensitivity." Paul V. Beckley, New York Herald Tribune, 1961"The success of [Kramer's] more than three-hour-long motion picture is twofold: he has put on the screen an entirely absorbing story, and he has provided thoughtful insights into the nature of Nazism and its hold on the German people." Hollis Alpert, Saturday Review, 1961"An all-star concentration camp drama, with special guest-victim appearances." Gavin Lambert, Film Quarterly, December 1961/January 1962"An intrepid indictment not of authoritarianism in the abstract, not of the trials themselves, not of the various moral and legal issues involved, but of Nazi war atrocities, about which there would have seemed already to be some consensus." Joan Didion, Slouching Towards Bethlehem (Simon & Schuster, 1968)"If they notice your 'show off' camera, the mood goes out the window. Stanley Kramer's 360-degree pan in the courtroom...served only to distract attention from his tense drama." director Frank Capra, 1971"One of the strengths of the three-hour film is that it is painstaking in illustrating Haywood's German education. Mr. Mann's Oscar-winning screenplay told its story largely through Haywood's experience, and in Spencer Tracy's somber and steely performance his delving into the lives of ordinary Germans who submitted to Hitler becomes a powerful narrative all by itself, the story of a fair man bending over backward to see the world from a perspective that baffles and horrifies him." Bruce Weber, New York Times, March 27, 2001, in a review of the stage version then mounted on Broadway"This assembly of star turns in the court...are often very impressive. Tracy puts in an effortlessly brilliant performance as the superjudge, and Clift as a confused Nazi victim is painfully convincing in his emotional disintegration. There are no surprises in the direction, and Abby Mann's screenplay plays the expected tunes, but there's enough conviction on display to reward a patient spectator." David Thomson, Time Out Film Guide TCM Remembers - Stanley Kramer March 14, 2001

Share In High Noon (1952), a sheriff stands alone as the clock ticks down toward a deadly showdown. A World War II veteran is forced to come to terms with his paralyzed body in The Men (1950). On the front lines of battle, an African American soldier is hounded by racist comrades in the groundbreaking drama, Home of the Brave (1949). With these films, Stanley Kramer built his reputation as a producer of important films. He made movies with a conscience, movies with a message. Although his films were sometimes criticized as being too simplistic in dealing with tough subjects, Kramer still deserves a great deal of credit for tackling sensitive subject matter no other director or studio wanted to address. His exploration of timely social issues is what makes his cinema unique and his recent passing leaves us with no one to fill his shoes. Kramer learned his craft within Hollywood's studio system. He began as a production assistant on So Ends Our Night(1941) and was soon writing and editing. By the late forties, Kramer broke away from the studio hierarchy and formed an independent production company. Outside of the Hollywood system, he could tackle social issues head-on while producing well-crafted and meaningful dramas. In The New York Times obituary for Kramer, the director was quoted in accessing his own career and it's most appropriate here: "I decided that somewhere between the films on outer space and Sylvester Stallone, there is a place for me. I was always associated with films that had an opinion. I don't believe films change anyone's mind, but I was spawned during the Roosevelt era, a time of great change, and I still believe in trying to get people to think." For his directorial debut, Not As A Stranger (1955), Kramer signed up the all-star cast of Robert Mitchum, Frank Sinatra, Olivia de Havilland and Gloria Grahame to reveal the trials and tribulations of doctors and nurses balancing medical school with their personal relationships. In The Defiant Ones (1958) shackled Tony Curtis and Sidney Poitier together as escaped convicts. As they flee the law they're forced to confront each other's racism and ultimately discover that beneath their skin color, they are not so different. On the Beach (1959) was Kramer's anti-atom bomb polemic in which Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire survive an initial nuclear holocaust only to face a slow, painful death from fallout. From the arms race to Biblical scripture, the following year Kramer turned his attention to the Scopes Monkey Trial of 1925 in Inherit the Wind(1960). This famous courtroom trial was a true-life clash of the titans as Fredric March and Spencer Tracy face off on the issue of Evolution versus Creationism. Although names are changed, March gave a grandstanding performance as William Jennings Bryan, the mouthpiece for conservatism, while Tracy played Clarence Darrow, a tireless fighter for progressive thought. Kramer's films were more than just entertainment; his stories were political platforms for the Civil Rights Movement, disarmament and liberal thinking. For audiences who thought the director couldn't take on an issue greater than the Scopes Monkey Trial, Kramer's next film would prove to be even more controversial. Again, Kramer booked a cast of Hollywood's hottest names to bring mass appeal to his very serious film. In Judgment at Nuremberg (1961) Spencer Tracy presides over a German war-criminal trial which delves into the atrocities of the Nazi regime. Burt Lancaster sits smugly on the stand as Ernst Janning, an unrepentant officer of the Gestapo, as Maximilian Schell mounts his defense. Montgomery Clift, as a Jew subjected to a sterilization experiment, nervously submits his testimony. Judy Garland and Marlene Dietrich each take the stand. Hollywood's greatest stars came out to shed light on one of the darkest moments of the 20th century. The Academy responded with 11 nominations, including for Best Picture, Director, Actor (Tracy), Supporting Actor (Clift), Supporting Actress (Garland), Adapted Screenplay, Cinematography and Editing. Schell won Best Actor for his dynamic performance as Herr Rolfe. However, Stanley Kramer wasn't "Mr. Message Film" all the time. In a lighter moment, he produced the surrealist anti-fascist fantasy, The 5,000 Fingers of Dr. T(1953) in which he enlisted the talents of Dr. Seuss. More famously, he pooled the greatest comics together for an insane Cinerama screwball farce - It's a Mad, Mad, Mad, Mad World (1963). By Jeremy Geltzer & Jeff Stafford TCM Remembers - Stanley Kramer In High Noon (1952), a sheriff stands alone as the clock ticks down toward a deadly showdown. A World War II veteran is forced to come to terms with his paralyzed body in The Men (1950). On the front lines of battle, an African American soldier is hounded by racist comrades in the groundbreaking drama, Home of the Brave (1949). With these films, Stanley Kramer built his reputation as a producer of important films. He made movies with a conscience, movies with a message. Although his films were sometimes criticized as being too simplistic in dealing with tough subjects, Kramer still deserves a great deal of credit for tackling sensitive subject matter no other director or studio wanted to address. His exploration of timely social issues is what makes his cinema unique and his recent passing leaves us with no one to fill his shoes. Kramer learned his craft within Hollywood's studio system. He began as a production assistant on So Ends Our Night(1941) and was soon writing and editing. By the late forties, Kramer broke away from the studio hierarchy and formed an independent production company. Outside of the Hollywood system, he could tackle social issues head-on while producing well-crafted and meaningful dramas. In The New York Times obituary for Kramer, the director was quoted in accessing his own career and it's most appropriate here: "I decided that somewhere between the films on outer space and Sylvester Stallone, there is a place for me. I was always associated with films that had an opinion. I don't believe films change anyone's mind, but I was spawned during the Roosevelt era, a time of great change, and I still believe in trying to get people to think." For his directorial debut, Not As A Stranger (1955), Kramer signed up the all-star cast of Robert Mitchum, Frank Sinatra, Olivia de Havilland and Gloria Grahame to reveal the trials and tribulations of doctors and nurses balancing medical school with their personal relationships. In The Defiant Ones (1958) shackled Tony Curtis and Sidney Poitier together as escaped convicts. As they flee the law they're forced to confront each other's racism and ultimately discover that beneath their skin color, they are not so different. On the Beach (1959) was Kramer's anti-atom bomb polemic in which Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire survive an initial nuclear holocaust only to face a slow, painful death from fallout. From the arms race to Biblical scripture, the following year Kramer turned his attention to the Scopes Monkey Trial of 1925 in Inherit the Wind(1960). This famous courtroom trial was a true-life clash of the titans as Fredric March and Spencer Tracy face off on the issue of Evolution versus Creationism. Although names are changed, March gave a grandstanding performance as William Jennings Bryan, the mouthpiece for conservatism, while Tracy played Clarence Darrow, a tireless fighter for progressive thought. Kramer's films were more than just entertainment; his stories were political platforms for the Civil Rights Movement, disarmament and liberal thinking. For audiences who thought the director couldn't take on an issue greater than the Scopes Monkey Trial, Kramer's next film would prove to be even more controversial. Again, Kramer booked a cast of Hollywood's hottest names to bring mass appeal to his very serious film. In Judgment at Nuremberg (1961) Spencer Tracy presides over a German war-criminal trial which delves into the atrocities of the Nazi regime. Burt Lancaster sits smugly on the stand as Ernst Janning, an unrepentant officer of the Gestapo, as Maximilian Schell mounts his defense. Montgomery Clift, as a Jew subjected to a sterilization experiment, nervously submits his testimony. Judy Garland and Marlene Dietrich each take the stand. Hollywood's greatest stars came out to shed light on one of the darkest moments of the 20th century. The Academy responded with 11 nominations, including for Best Picture, Director, Actor (Tracy), Supporting Actor (Clift), Supporting Actress (Garland), Adapted Screenplay, Cinematography and Editing. Schell won Best Actor for his dynamic performance as Herr Rolfe. However, Stanley Kramer wasn't "Mr. Message Film" all the time. In a lighter moment, he produced the surrealist anti-fascist fantasy, The 5,000 Fingers of Dr. T(1953) in which he enlisted the talents of Dr. Seuss. More famously, he pooled the greatest comics together for an insane Cinerama screwball farce - It's a Mad, Mad, Mad, Mad World (1963). By Jeremy Geltzer & Jeff Stafford Quotes Judge Haywood... the reason I asked you to come. Those people, those millions of people... I never knew it would come to that. YOU must believe it, YOU MUST believe it. - Ernst Janning Herr Janning, it came to that the first time you sentenced a man to death you knew to be innocent. - Judge Dan Haywood Trivia Laurence Olivier was originally cast as Ernst Janning.