“Anatomy of a Murder” (1959)

Anatomy of a Murder

Grade: A

Otto Preminger’s nearly-three-hour classic, Anatomy of a Murder is the most realistic courtroom drama ever made, taught in both law school and film school: aspiring lawyers study it, and film buffs become aspiring lawyers because of it.

Directing:

The murder itself is not up for debate: Lt. Frederick Manion killed Barney Quill in cold blood to avenge the alleged rape of his promiscuous wife (all of which occurred before the film began). This isn’t a whodunnit; rather, it’s a was-he-justified-in-doing-it, and Preminger puts us right inside the jury, using spare editing and restrained camera movement, keeping melodrama to a minimum and choosing not to manipulate us with cinematic technique. His controlled direction makes for an incredibly authentic trial experience.

Acting:

More than anything, courtroom dramas need great performances to make up for the lack of physical action. Luckily, the all-star Anatomy of a Murder ensemble is up to the task: James Stewart and George C. Scott are tremendous as opposing attorneys, while every character who takes the witness stand is compelling on their own. This is a long movie, with the majority of the film taking place in the courtroom: it takes great acting to keep us so entertained and make the movie feel so fast.

Writing:

This is a movie made for law obsessives, a story about the intricacies of the American legal system rather than a sensationalized “trial of the century” narrative. If you’re interested in seeing how a court truly operates, including the painstaking research and preparation, then this is the film for you — every single scene pertains to the case. The sheer professionalism and authenticity with which the story is handled shows why the invisible hand of the law is so fascinating to viewers.

Music:

Duke Ellington’s jazz score is a cultural milestone (the first Hollywood soundtrack by a black man) that fills the film with modern, fast-paced joie de vivre. The big band and cool jazz arrangements are the perfect accompaniment to the virtuoso solos and close-knit synergy that the actors deliver in the courtroom. Even when listened to outside the film’s context, Ellington’s soundtrack is a very good jazz album. Anatomy of a Murder should be required curriculum in music school, too.

Ending (SPOILERS):

The damning piece of evidence that kills the prosecution’s case is when a key witness is revealed to be the murdered man’s daughter (not a mistress, as Dancer previously thought). Benefitting from a great build-up, it’s a terrific — albeit a tad premature — climax that justifies the immediate jump to the resolution (the closing arguments and not-guilty verdict occur offscreen).

Even though the dénouement can feel like a bit of a letdown (Manion and his wife skip town without paying Biegler), Preminger provides an appropriately wry look at our modern society: the laws may change, but the people do not. Everyone gets their hands dirty, noble intentions or otherwise. The system works. Or maybe it doesn’t. Justice is served. Or maybe it isn’t. Life goes on.

“How can a jury disregard what it’s already heard?” – Lt. Frederick Manion

Why Anatomy of a Murder gets an A

The best American courtroom movie ever made. Better than Mulligan’s To Kill a Mockingbird (1962), better than Wilder’s Witness for the Prosecution (1957), even better than Lumet’s 12 Angry Men (1957). An underrated classic. One of the finest movies of the 1950s.

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