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Judgment at Nuremberg (1961, Stanley Kramer)
Insofar as it has a protagonist,Judgment at Nuremberg is the story of recently electorally defeated Maine judge Spencer Tracy. Tracy is the chief justice on a military tribunal hearing cases in the Nuremberg trials, the Allied attempt to hold the Germans accountable for their actions during World War II. Tracy's coming in towards the end of trials; the American public has lost interest, more enthusiastic about hating the Communist Russians than their enemies… the defeated Nazis.
I mean, yikes.
The film's trial centers around four German judges, who all wore the literal Swastika while dispensing law during the Nazi period. Now they're being held accountable for their actions, which gives all the lawyers some pause. Judges aren't expected–Nuremberg's exposition from the legal minds contends–to administer justice; they're supposed to interpret and administer the laws on the books. So, since Nazi persecution was legal, the judges are exempt from accountability. Tracy's not sure about that take, but he's a Republican who voted for FDR, which fellow judge Ray Teal thinks is weak sauce. Third justice Kenneth MacKenna is going to sway with the wind, but Teal's sure these fellows were just doing their jobs.
After all, as the Germans' lawyer (Maximilian Schell) points out… The United States loved sterilizing people. Our greatest legal minds were all for it.
Schell's the breakout performance in Nuremberg. He's a little weasel who didn't learn anything from the war. However, none of the Germans learned much, other than Burt Lancaster. He's the Weimar leader who became a Nazi rubber-stamper. Much to Schell's chagrin, he refuses to participate in the trial proceedings. Schell figures if a guy like Lancaster could be a Nazi, it wasn't so bad for Schell to be one either.
Werner Klemperer, Torben Meyer, and Martin Brandt play the other judges. Klemperer is the goose-stepper, and the others are just regular Germans. They don't have much to do, but they're perfect at it.
Nuremberg is all about the performances.
The film has three phases, each punctuated by a performance from the witness stand. The first phase belongs to Montgomery Clift, who appears as a laborer who the Germans sterilized. The second is Judy Garland's. She plays a woman who, as an orphaned teenage girl, was friends with a sixty-ish Jewish man who knew her family. They executed the man and defamed her for denying a sexual relationship. Garland actually gets two scenes on the stand. Both are fantastic, but director Kramer takes the opportunity between them to change the narrative distance a bit. We're shifting for the finale, which will have the film's various philosophical showdowns.
See, it's not just the American people who'd rather forgive and forget the Germans and start hating the Russians; it's the U.S. Army, too. They've got a new war, and can't prosecutor Richard Widmark get with it? He's a soft touch, they all think, because he liberated Dachau and still has the sads about it. It's 1947, incidentally. Alan Baxter plays the General who calls Widmark a weak sister for still carrying about it.
It's a lot, especially because Nuremberg always talks about it. There are things they don't bring up, such as none of the Americans hanging out with the local Germans being Jewish or, seemingly, caring enough about their Jewish compatriots to be uncomfortable. They're all good white Christians, after all. But Tracy's really trying to figure out if they're monsters or not.
And Tracy's not just confining his fact-finding to the courtroom. He starts seeing Marlene Dietrich. She's a blue blood who's lost it all thanks to the war. She just wants everyone to forget about it and let the Germans back into society. It's not like she knew about the concentration camps–she was a regular Army general's wife, not the S.S.
Nuremberg has its more and less straightforward resolutions, but the one for Tracy and Dietrich is fecund with subtext.
The best performance in Nuremberg, no spoilers, is Lancaster. One reason being he's under scrutiny long before he does anything. The film examines him and the character's building underneath that silent observation. He's outstanding.
After Lancaster, Garland.
Nuremberg's got a position–in the last fourteen years, it's become clear the Allies didn't go hard enough on the Germans. Teal has a whole bit about the only way to judge anything is through historical lenses; at different times during the film, Tracy and Widmark will look almost dead into the camera and denounce that idea. Schell's whole defense of the judges revolves around reestablishing those good Nazi Germany legal principles. At least in terms of assailing the marginalized. Schell flexes the fascism, getting Teal hot while letting Tracy both sides enough to hang out with Dietrich.
So, seeing how the Germans victimized and abused their own becomes essential. And Garland is the face of it. It's a beautiful performance. Kramer and cinematographer Ernest Laszlo bust ass on about a dozen close-ups in Nuremberg, but they give the best to Garland. The film's too big–and constructed as a courtroom procedural–to allow for thorough establishing shots, much less arcs. Kramer utterly relies on his cast to deliver–Tracy, Widmark, Schell, Lancaster, Garland, Clift, Dietrich.
And no one's better from that angle than Garland. Lancaster embodies a righteous rage; it fuels his energy. Especially since he's so restrained; it's like this electric buildup. But not Garland. Garland's survived Nazi Germany and just gotten some semblance of stability for the first time since she was a tween, and then Widmark shows up and says risk it all.
And Schell uses her fears to amp up the cruelty, leading to a great courtroom scene.
Clift's scene is entirely different. It's a showcase, but it's self-contained. It's beautiful work, too. It's all beautiful work. Nuremberg doesn't miss.
Besides the gorgeous photography, Frederic Knudtson's editing is standout. Abby Mann's script (based on his script for TV) is excellent. The film never dawdles; Mann's good at the exposition, good at the courtroom back-and-forth. It's a smartly assembled narrative. Kramer and the cast do wonders with it.
Nuremberg is an exceptional, complex, terrifying, and tragic motion picture.
This post is part of the Third Judy Garland Blogathon hosted by Crystal of In the Good Old Days of Classic Hollywood and Kristen of Hoofers and Honeys.
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Briefly, Comics (3 June 2024)
Black Panther (1998) #12 [1999] W: Christopher Priest. A: Mark Bright, Nelson (Nelson DeCastro). Just okay wrap up for the series-to-date. There’s some nice art and some okay jokes. Lots goes unresolved. And there’s a big reveal to change the impact of the story. Priest opens the issue with one eh reveal, and then does a pointless Captain America guest spot. Cap’s just around so they could have him on the cover.
Black Panther (1998) #13 [1999] W: Christopher Priest. A: Bob Almond, Sal Velluto. Priest kicks off the next story arc with elaborate narration from Ross. There’s trouble afoot, not to mention betrayal, and a more sedate than usual Ross breaks it down. Priest gives all Ross’s dorky white boy lines to guest star Justice. It’s a packed issue. Also: Hydro-Man attacka. The new art team is fantastic and they know it.
Black Panther (1998) #14 [2000] W: Christopher Priest, Glenn Alan Herdling. A: Gregg Schigiel, Richard Case, Sal Velluto. After a tedious if well-illustrated Ross introduction, the issue switched over to Black Panther rescuing a plane from Hydro-Man. The passengers don’t know they’re hostages, which gives T’Challa some page time. Must be nice just to have the suit turn on and off. Great action issue. Veluto and Almond’s art, Priest’s writing–the book’s delightfully sturdy.
Black Panther (1998) #15 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. It’s a very quick issue. Black Panther is giving a statement to former squeeze Nikki, while her boyfriend Ross is calling for help. Plus a lengthy, very amusing sequence about the Hulk getting radicalized against capitalism. Ross’s bit (he’s on a ceremonial hunt) is a little rote; since the art’s good now, it’s fine. Stable is the new BLACK.
Black Panther (1998) #16 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. Panther’s New York side mission now has Nightshade guest starring as the villain. She’s a LUKE CAGE villain, hired by Killmonger to disgrace Wakanda. Meanwhile the actual Killmonger is protecting Monica Lynne and running a capitalist utopia. Someone’s got to be confused, right? The ending is a lot of fun. The Ross gag (dipshit white narrator) is getting tiring.
Catwoman (2002) #18 [2003] W: Ed Brubaker. A: Javier Pulido. It’s another major downer issue, starting with Holly teetering on the edge of the wagon. Then Slam is trying to get lost in work, only for the case to disappoint. His attempt to include Selina proves a poor decision, with Brubaker confusingly setting the story in the aftermath. Lovely, emotive art from Pulido. Hopefully Bru baker’s going somewhere.
Catwoman (2002) #19 [2003] W: Ed Brubaker. A: Javier Pulido. As far as resolutions go, it’s frankly mid. Selina gets more self-destructive; eventually Batman shows up so they can get that sales bump. He’s not in it long enough to matter, just another tool on Brubaker’s narrative utility belt. The art gets too much for Pulido too. He’s great at movement and mood, but definitely not monologues.
Catwoman (2002) #20 [2003] W: Ed Brubaker. A: Cameron Stewart. Selina and Holly hit the road to find themselves and whatnot. First stop: Catwoman’s top secret… farm. There, Wildcat Ted Grant provides sage advice and fight training. The duo is in need of both. Some really good action art. Holly’s letters home provide the majority of the narration. The script’s full of such narrative devices; they’re usually successful.
Catwoman (2002) #21 [2003] W: Ed Brubaker. A: Cameron Stewart. Selina teams up with Captain Cold. He’s got information she needs, he needs help on a heist. Holly wanders Keystone (mostly off-page). The script’s okay, but Brubaker avoids exploring the team-up dynamics for the most part, which is good because they’re problematic. Nice GET SHORTY homage. Great art. The action, the “travelogue.” It’s a good looking book.
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Briefly, Comics (24 May 2024)
Black Panther (1998) #9 [1999] W: Christopher Priest. A: Mike Manley. The cartoonish Manley art hurts immeasurably as Priest thoroughly unravels the conspiracy against Wakanda. Turns out the Avengers’ racist uncle at Thanksgiving was after the vibranium the whole time. If only someone had said something. Lots of (ugly) action, lots of expert exposition, and a little bit of character work. The Manley art hurts the character work the most.
Black Panther (1998) #10 [1999] W: Christopher Priest. A: Mike Manley. The Manley art continues to be terrible, but Priest’s writing is so good it doesn’t matter. I mean. It does but not catastrophically. The story is all about the politics of the situation, but from the Wakandan point of view. Plus lots of action. Some of that action might even be good if the art weren’t terrible. Alas.
Black Panther (1998) #11 [1999] W: Christopher Priest. A: Mark Bright, Nelson (Nelson DeCastro). Bright can draw. Not only can he draw, Priest trusts him to draw. So Priest tries things. They don’t always work–the movie references, which rarely involve the art, flop. But there’s a bunch of character work, even on Ross, and numerous pleasant surprises. Priest does an excellent job with the pacing. More intrigue and action. Finally okay looking.
Catwoman (2002) #14 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones, Mike Manley. Team Catwoman starts investigating sister Maggie’s missing husband and whoever blew up Selina’s community center. Odd Batman isn’t involved. Odder he doesn’t know Black Mask has been slaughtering rival crews. Marley’s inks kind of spoil things, but the story’s all regulars in great danger so it still compels. Whether Brubaker’s got a point besides cruelty remains to be seen.
Catwoman (2002) #15 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones. It’s more of the same relentless suffering, along with some torture. There’s also some phenomenal art. And some iffy cheesecake. To discover the mystery villain, Selina goes one way, Holly goes another. One of them is in greater danger by the end. It’s an outstanding finish to a yucky issue. The extreme is too much the point.
Catwoman (2002) #16 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones. It’s a good finish, but even when Brubaker ties it all together–including the torture and all that jazz–it comes up thin. And he’s got to pivot. And that pivot isn’t any better. It’s just more. Some real good art. The action gets a tad protracted. Then Brubaker punts the POV away from Selina, which stinks.
Catwoman (2002) #17 [2003] W: Ed Brubaker. A: Javier Pulido. Pulido’s art’s controlled but rough; it’s kinetic; every line bursting with potential. Exactly what the story needs. Selina and company are trying and failing to recover from last arc’s heavy losses. Holly’s veering toward using, Selina and Slam are in a drunken, power imbalance hookup spiral. Brubaker gives Selina her time. Pulido draws Robert Mitchum as Slam. It’s awesome.
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Briefly, Comics (19 May 2024)
Black Panther (1998) #8 [1999] W: Christopher Priest. A: Amanda Conner, Jimmy Palmiotti, Joe Jusko, Vince Evans. After a pretty but narratively pointless flashback to T’Challa’s first adventure with Captain America, it’s back to the present. A crowd of Black New Yorkers want to see Black Panther. The NYPD wants to shoot them for being lawfully assembled. Will the cops even listen to Captain America? Plus, international intrigue, ex-girlfriends, and assassination attempts. Good as usual.
Catwoman (2002) #13 [2003] W: Ed Brubaker. A: Cameron Stewart. Just as everything starts coming together for Selina and company, an unseen enemy conspires to take everything away. There’s a lot of good material, lovely timing, great art, but the mix of sweet and sour is off for the ending. There’s a too effective thriller scene following a too effective action sequence. Oh. The arc’s called “Relentless.” Got it.
Werewolf by Night (1972) #39 [1976] W: Doug Moench. A: Don Perlin. Despite some serious hiccups, not to mention Jack immediately returning to the friends he said he was forever abandoning, it’s not too bad. There’s some bad art, sure, but Brother Voodoo is a decent guest star and the characters are all sincere in their concerns. And Jack does have a decent surprise development. But the cliffhanger is utter nonsense.
Werewolf by Night (1972) #40 [1976] W: Doug Moench. A: Don Perlin. It’s the worst writing from Moench in a while. Pointless references, low-key racism (so Jack’s on point), the too much padding. The werewolf and Brother Voodoo might zombies. Lots of fighting, while Jack discovering he has more control of wolfing out. The finish is more can kicking from Moench. I can’t believe they’re back to promising big changes.
Werewolf by Night (1972) #41 [1976] W: Doug Moench. A: Don Perlin. More putting things in order has Wolfman Jack in full control, fighting monsters and old foes. It’s fantastical and silly. But there’re lots of little Perlin panels, which still charm. Also, Moench–in Jack’s first-person narration–finally contextualizes that narration: Jack’s journaling, sometime after the fact. Kind of compelling (because Topaz is in danger, really), kind of not.
Werewolf by Night (1972) #42 [1977] W: Doug Moench. A: Don Perlin. Jack and Topaz go to New York City to celebrate his being able to control good lycanthropy. Before they know it, he’s playing superhero only to get in a fight with Iron Man. Then Jarvis shows up. It’s a lot, but Perlin’s much better with Iron Man than wolf men. Moench’s desperately enthusiastic; last ditch effort before cancellation.
Werewolf by Night (1972) #43 [1977] W: Doug Moench. A: Ernie Chan. Despite Moench closing the series with the cancellation announcement, WEREWOLF leaves some loose threads. The story wraps the Iron Man team-up, complete with Jarvis being a weirdo about Jack. Moench’s narration is bland and omnipresent, but they’re fighting a giant robot with the traits of an ape, an alligator, and a cheetah. It’s silly, and an unfortunate finish.
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Briefly, TV (18 May 2024)
The Big Door Prize (2023) s02e04 “Storytellers” [2024] D: Heather Jack. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Patrick Kerr, Aaron Roman Weiner. Never mind, they’ve lost the plot with Amara and Fourlas again. And O’Dowd’s post-date guilt becomes a thing. Though it does rescue Dennis from an overwrought gal pals subplot. About the only solid material is for Kerr and Weiner, who bond over incomplete memories. Segarra’s got some funny moments. For everyone but Kerr, the show’s vamping for time.
Doctor Who (2005) s14e03 “Boom” [2024] D: Julie Anne Robinson. S: Ncuti Gatwa, Millie Gibson, Joe Anderson, Caoilinn Springall, Bhav Joshi, Susan Twist, Varada Sethu. So good I recommended it to a real human person show-off episode written by former show runner Steven Moffat. It’s anti-war, anti-capitalism, anti-religion. Gatwa is stuck on a land mine. But still rescues Gibson and the assorted guest stars from a war planet. Real good acting. Gates’s the most accessible Doctor ever.
Beacon 23 (2023) s02e06 “Luan Casca” [2024] D: Lewin Webb. S: Hannah Melissa Scott, John Kapelos, Milton Barnes, Diane Johnstone. The show punts the shark-jumping decision for a flashback episode, with Scott playing a teenage version of Lena Headey’s (still) deceased season one lead. Scott shows up as a beacon-keeper trainee to Kapelos’s working-class hero. It turns out they’ve both got secrets, but only one involves a mystery man (Barnes). Kapelos’s good; Scott’s making admirable swings.
The Big Door Prize (2023) s02e03 “Power & Energy” [2024] D: Heather Jack. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Ally Maki, Justine Lupe. On his first night “separated” from Dennis, O’Dowd starts an iffy arc with a date; fellow teacher Lupe. Meanwhile, Dennis gets trapped in a social situation with mean mom Crystal R. Fox. Hopefully, Lupe’s not supposed to be likable because she’s not. Some fun Segarra, and Fourlas and Amara recover their balance on screen. But the show is rocking.
Crashing (2016) s01e04 “Episode 4” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. It’s… next level. Not just the best episode of an excellent series, but double it. Or more. Molony and Waller-Bridge have an old school hangout adventure, while Ford discovers herself after an accident. Then Bailey’s taking his new flirt-jerk thing with Shah to even more extremes. Series best acting from everyone with enough to do. Including Molony.
Doctor Who (2005) s14e02 “The Devil’s Chord” [2024] D: Ben Chessell. S: Ncuti Gatwa, Millie Gibson, Jinkx Monsoon, Chris Mason, George Caple, Jeremy Limb, Kit Rakusen. Interdimensional god Monsoon arrives in the 1920s to steal all the music for themself, then running into Gatwa and Gibson in the sixties when Gibson wants to see The Beatles. Can Gatwa and Gibson save music itself? Gatwa and Gibson maintain their charm, even in what amounts to a special effects extravaganza action episode. Monsoon’s fun. It’s just thin.
Doctor Who (2005) s14e01 “Space Babies” [2024] D: Julie Anne Robinson. S: Ncuti Gatwa, Millie Gibson, Angela Wynter, Michelle Greenidge, Golda Rosheuvel. Gatwa and Gibson kick off the regular series with an obnoxiously adorable outing involving a bunch of super intelligent babies trapped on a space station with a monster. The monster gives major ALIENS vibes, so there’s some nice contrasts. It’s funny, yucky, charming, and extremely charming. Gatwa continues to be a delight, Gibson’s coming along; it’s absolutely wonderful.