list http://www.spout.com/ Recent community activity around Anatomy of a Murder on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Anatomy_of_a_Murder/1289/default.aspx Title: Anatomy of a Murder
Year: 1959
Director: Otto Preminger
Plot: Based on the best-selling novel by Robert Traver (the pseudonym for Michigan Supreme Court justice John D. Voelker), Anatomy of a Murder stars James Stewart as seat-of-the-pants Michigan lawyer Paul Biegler. Through the intervention of his alcoholic mentor, Parnell McCarthy (Arthur O'Connell), Biegler accepts the case of one Lt. Manion (Ben Gazzara), an unlovable lout who has murdered a local bar owner. Manion admits that he committed the crime, citing as his motive the victim's rape of the alluring Mrs. Manion (Lee Remick). Faced with the formidable opposition of big-city prosecutor Claude Dancer (George C. Scott), Biegler hopes to win freedom for his client by using as his defense the argument of "irresistible impulse." Also featured in the cast is Eve Arden as Biegler's sardonic secretary, Katherine Grant as the woman who inherits the dead man's business, and Joseph N. Welch -- who in real life was the defense attorney in the Army-McCarthy hearings -- as the ever-patient judge. The progressive-jazz musical score is provided by Duke Ellington, who also appears in a brief scene. Producer/director Otto Preminger once more pushed the envelope in Anatomy of a Murder by utilizing technical terminology referring to sexual penetration, which up until 1959 was a cinematic no-no. Contrary to popular belief, Preminger was not merely being faithful to the novel; most of the banter about "panties" and "semen," not to mention the 11-hour courtroom revelation, was invented for the film. Anatomy of a Murder was filmed on location in Michigan's Upper Peninsula. ~ Hal Erickson, All Movie Guide
Times Tagged: 28
Number of Lists: 17
Number of blog posts: 3
SpoutRating: 4
]]>Thu, 07 May 2009 01:44:08 GMTAnatomy of a Murder1959Otto PremingerBased on the best-selling novel by Robert Traver (the pseudonym for Michigan Supreme Court justice John D. Voelker), Anatomy of a Murder stars <a href="/players/P____68236/default.aspx" style='text-decoration:underline'>James Stewart</a> as seat-of-the-pants Michigan lawyer Paul Biegler. Through the intervention of his alcoholic mentor, Parnell McCarthy (<a href="/players/P____53319/default.aspx" style='text-decoration:underline'>Arthur O'Connell</a>), Biegler accepts the case of one Lt. Manion (<a href="/players/P____26259/default.aspx" style='text-decoration:underline'>Ben Gazzara</a>), an unlovable lout who has murdered a local bar owner. Manion admits that he committed the crime, citing as his motive the victim's rape of the alluring Mrs. Manion (<a href="/players/P____59559/default.aspx" style='text-decoration:underline'>Lee Remick</a>). Faced with the formidable opposition of big-city prosecutor Claude Dancer (George C. Scott), Biegler hopes to win freedom for his client by using as his defense the argument of "irresistible impulse." Also featured in the cast is <a href="/players/P_____2128/default.aspx" style='text-decoration:underline'>Eve Arden</a> as Biegler's sardonic secretary, Katherine Grant as the woman who inherits the dead man's business, and Joseph N. Welch -- who in real life was the defense attorney in the Army-McCarthy hearings -- as the ever-patient judge. The progressive-jazz musical score is provided by <a href="/players/P____88854/default.aspx" style='text-decoration:underline'>Duke Ellington</a>, who also appears in a brief scene. Producer/director <a href="/players/P___107025/default.aspx" style='text-decoration:underline'>Otto Preminger</a> once more pushed the envelope in Anatomy of a Murder by utilizing technical terminology referring to sexual penetration, which up until 1959 was a cinematic no-no. Contrary to popular belief, Preminger was not merely being faithful to the novel; most of the banter about "panties" and "semen," not to mention the 11-hour courtroom revelation, was invented for the film. Anatomy of a Murder was filmed on location in Michigan's Upper Peninsula. ~ Hal Erickson, All Movie Guide28Tag Target (>10)1734http://www.spout.com/ProductImages/t068592vu17.jpghttp://www.spout.com/films/Anatomy_of_a_Murder/1289/default.aspxFilm http://www.spout.com/blogs/risselada/archive/2009/11/20/44402.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 11/20/2009 1:47:31 PM
Body: This is the first film I've seen by director Otto Preminger. Anatomy of a Murder A good courtroom drama, but less for the reasons that I would have expected. At some point finding out what really happened and who is guilty or innocent is not quite as important as just watching all of the different characters involved, their motives, methods, and relationships. Also notable for being one of the earliest major screen appearances from the great George C. Scott. His talent and skill as a distinct actor were already developed at this early stage of his film carreers. Also interesting as one of the only major films I've ever seen that takes place in the Michigan Upper Peninsula. What also sticks out about the film is how open it is about talking about and investigating such disturbing crimes as violence and rape. The word rape is used quite openly, along with many details surrounding the incident. The crime was not made light of, yet we see how it can become more matter of fact or be examined in a more logical way when the subject of this kind of investigation which has so many other motivations and factors surrounding it. This will not only strike audiences still today, but even more so when you realize this film was released in 1959 and how much more rare it was to see such things discussed in films this way back then. My only recommendation for people who are seeing this because they like a good courtroom drama is to realize that the path this movie takes is sometimes more about characters and a lot of other issues that can surround a case than the actual case itself. Rating: 9/10
]]>Fri, 20 Nov 2009 18:47:31 GMTRisseladaRisselada Blog11/20/2009 1:47:31 PMThis is the first film I've seen by director Otto Preminger. Anatomy of a Murder A good courtroom drama, but less for the reasons that I would have expected. At some point finding out what really happened and who is guilty or innocent is not quite as important as just watching all of the different characters involved, their motives, methods, and relationships. Also notable for being one of the earliest major screen appearances from the great George C. Scott. His talent and skill as a distinct actor were already developed at this early stage of his film carreers. Also interesting as one of the only major films I've ever seen that takes place in the Michigan Upper Peninsula. What also sticks out about the film is how open it is about talking about and investigating such disturbing crimes as violence and rape. The word rape is used quite openly, along with many details surrounding the incident. The crime was not made light of, yet we see how it can become more matter of fact or be examined in a more logical way when the subject of this kind of investigation which has so many other motivations and factors surrounding it. This will not only strike audiences still today, but even more so when you realize this film was released in 1959 and how much more rare it was to see such things discussed in films this way back then. My only recommendation for people who are seeing this because they like a good courtroom drama is to realize that the path this movie takes is sometimes more about characters and a lot of other issues that can surround a case than the actual case itself. Rating: 9/10 http://www.spout.com/blogs/dibot/archive/2008/7/2/32016.aspx Post By: dibot
Post To: dibot Blog
Post Date: 7/2/2008 11:08:35 AM
Body: Shrooms was the big surprise of Friday the 13th. It was really good. The cover box looked terrible, the description - a group of kids go to Ireland just to eat Mushrooms and then don't know whether or not they are hallucinating ghosts - sounded pretty lame. But the effects were very creepy. The acting believable. And the story, especially the ghost part, was quite good up until the twist ending. And even that didn't ruin it. Very nice surprise. Crazy Eights was not such a good time. Frankly, I was bored. Old friends reunite when one of their group dies and then they end up following a map which leads to the corpse of a child. Then weird stuff happens. Ghosties and flashbacks. Confusion and no clear "good guy" for whom to root. I can't recommend it. Suddenly, Last Summer is based on a Tennessee Williams ("Night of the Iguana") play, so it's emotionally disturbing. Katharine Hepburn ("Love Affair") is trying to have a lobotomy performed on her niece, Elizabeth Taylor ("The Flintstones"), because the niece made some disturbing comments about the circumstances surrounding the death of Hepburn's son. Montgomery Clift ("The Defector") is the brain surgeon caught in between these women's monologues on relationships and human behavior. Very good. The Shop Around the Corner is a sweet little romantic comedy starring Jimmy Stewart ("The Magic of Lassie") and Margaret Sullavan ("No Sad Songs for Me"), who love each other through anonymous letters, but can't stand each other in person. The banter is good, and there are some excellent comedic moments. I really enjoyed it. Anatomy of a Murder started a bit slow for me. But once it got into the courtroom, I got really involved. Jimmy Stewart ("The Magic of Lassie") stars as a small town attorney defending a man who killed the man who raped his wife. There's some comedic moments between Stewart and his assistants, but mostly this is a tense back and forth between lawyers and witnesses. Director Otto Preminger ("The Human Factor") doesn't really go into the right and wrong, but just let's us think about the evidence and what the jury's decision means. Very good.
]]>Wed, 02 Jul 2008 15:08:35 GMTdibotdibot Blog7/2/2008 11:08:35 AMShrooms was the big surprise of Friday the 13th. It was really good. The cover box looked terrible, the description - a group of kids go to Ireland just to eat Mushrooms and then don't know whether or not they are hallucinating ghosts - sounded pretty lame. But the effects were very creepy. The acting believable. And the story, especially the ghost part, was quite good up until the twist ending. And even that didn't ruin it. Very nice surprise. Crazy Eights was not such a good time. Frankly, I was bored. Old friends reunite when one of their group dies and then they end up following a map which leads to the corpse of a child. Then weird stuff happens. Ghosties and flashbacks. Confusion and no clear "good guy" for whom to root. I can't recommend it. Suddenly, Last Summer is based on a Tennessee Williams ("Night of the Iguana") play, so it's emotionally disturbing. Katharine Hepburn ("Love Affair") is trying to have a lobotomy performed on her niece, Elizabeth Taylor ("The Flintstones"), because the niece made some disturbing comments about the circumstances surrounding the death of Hepburn's son. Montgomery Clift ("The Defector") is the brain surgeon caught in between these women's monologues on relationships and human behavior. Very good. The Shop Around the Corner is a sweet little romantic comedy starring Jimmy Stewart ("The Magic of Lassie") and Margaret Sullavan ("No Sad Songs for Me"), who love each other through anonymous letters, but can't stand each other in person. The banter is good, and there are some excellent comedic moments. I really enjoyed it. Anatomy of a Murder started a bit slow for me. But once it got into the courtroom, I got really involved. Jimmy Stewart ("The Magic of Lassie") stars as a small town attorney defending a man who killed the man who raped his wife. There's some comedic moments between Stewart and his assistants, but mostly this is a tense back and forth between lawyers and witnesses. Director Otto Preminger ("The Human Factor") doesn't really go into the right and wrong, but just let's us think about the evidence and what the jury's decision means. Very good. http://www.spout.com/blogs/spoutblog/archive/2008/3/3/25819.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/3/2008 3:00:42 PM
Body: Star Wars may have the most famous opening title sequence in film history, but in terms of influence it’s got nothing on the work of Saul Bass. He’s the brilliant graphic designer who gave us the animated credits for Hitchcock’s Vertigo, North by Northwest and Psycho and Scorsese’s Casino, Cape Fear, The Age of Innocence and Goodfellas and most of Otto Preminger’s work, including Exodus, Anatomy of a Murder and The Man With the Golden Arm. You’ve also seen his work at the beginning of West Side Story and Alien and Big and The Seven Year Itch and Spartacus. But what if he had designed the opening credits to Star Wars? Well, it might have looked something like this video, which was created for a school project. Interesting, yes. Creative, yes. Entertaining, yes. Memorable, no. It just goes to show how significant some credit sequences can be, because this is hardly appropriate for George Lucas’ film. And I don’t just mean because the music is all wrong. If this student wanted to go with a jazz score for the titles, he should have gone with a jazz cover of the Star Wars theme. And if he wanted something more upbeat, he could have used a jazz cover of the Cantina Band song (both covers can be heard on this album). If I was this guy’s professor, I’d give him a B+, mostly for effort and the fact that I love the lazer blasts and the zoom in on the Death Star at the end. For the A, though, he’d need to resubmit with something more suitable than a Buddy Rich soundtrack. [via Fraktastic] Originally posted on:SpoutBlog
]]>Mon, 03 Mar 2008 20:00:42 GMTSpoutBlogSpoutBlog on spout.com3/3/2008 3:00:42 PM Star Wars may have the most famous opening title sequence in film history, but in terms of influence it’s got nothing on the work of Saul Bass. He’s the brilliant graphic designer who gave us the animated credits for Hitchcock’s Vertigo, North by Northwest and Psycho and Scorsese’s Casino, Cape Fear, The Age of Innocence and Goodfellas and most of Otto Preminger’s work, including Exodus, Anatomy of a Murder and The Man With the Golden Arm. You’ve also seen his work at the beginning of West Side Story and Alien and Big and The Seven Year Itch and Spartacus. But what if he had designed the opening credits to Star Wars? Well, it might have looked something like this video, which was created for a school project. Interesting, yes. Creative, yes. Entertaining, yes. Memorable, no. It just goes to show how significant some credit sequences can be, because this is hardly appropriate for George Lucas’ film. And I don’t just mean because the music is all wrong. If this student wanted to go with a jazz score for the titles, he should have gone with a jazz cover of the Star Wars theme. And if he wanted something more upbeat, he could have used a jazz cover of the Cantina Band song (both covers can be heard on this album). If I was this guy’s professor, I’d give him a B+, mostly for effort and the fact that I love the lazer blasts and the zoom in on the Death Star at the end. For the A, though, he’d need to resubmit with something more suitable than a Buddy Rich soundtrack. [via Fraktastic] Originally posted on:SpoutBlog http://www.spout.com/blogs/erico_77375/archive/2007/7/22/15535.aspx Post By: erico_77375
Post To: erico_77375 Blog
Post Date: 7/22/2007 6:13:04 AM
Body: I don't know if this movie is properly named. There are so many elements that this film covers; the actual murder seems more a catalyst than the main topic. Otto Preminger's 1959 masterpiece had to have been one of the most hated movies of that time, busting taboos left and right with such glee and vicious determination. But what I think is most interesting about this film is that nearly 47 years have passed, and yet these taboos are still around, we are just a little better at identifying them.The film starts off after the fact, when small-town attorney Paul Biegler (James Stewart) returns to town from a fishing trip to find a message about a new client arranged by his old friend (and resident drunk) Parnell (played with introspection by Arthur O'Connell). It's a murder case involving an soldier (Ben Garazza) who killed a local barkeep who supposedly raped his wife (Lee Remick). Biegler isn't attracted by the case so much out of noble causes but because he's past due paying his secretary and possibly other bills. His once-over with the soldier isn't very promising, he's brash, obnoxious, and he was seen doing it. The only chance he can get him off is temporary insanity. Note that I didn't say if the soldier was in fact insane at the time, because he might not have been.There's just one other problem, Biegler's never defended a criminal case before. He was once a prosecutor for the county before losing that job to a man who had more political skill and less legal ones. The added bonus to this case for him is to run circles around the other guy. But the D.A. brings in a more superior man from the Attorney General's office (George C. Scott), to make him look good. From behind the scenes, this man is the master player, knowing where to strike the defendant and make his character and his justification obsolete.One of the brave things this film does, besides openly talking about rape and sexuality is show courtrooms not so much as a battle between right and wrong, but a sport between two sides that doesn't care anything about ideas. The fact that the wife is never shown with any sympathy until it's time for her to testify. And in fact, the state even goes so far out to make it a point that it might not have happened. That perhaps she did have sex with the deceased, but it was consensual. The highlight of this debate comes at the end when a last-minute witness comes with a piece of evidence that would solve this question, someone we know about earlier in the film. The prosecution's determination to disprove that evidence is so heated, they don't see what we already know is going to happen; they're going to tear their own case apart on the wrong assumption.That scene belongs to Scott, as this is his only glorious scene in the film. The rest of his part is making gestures and suggestions that are so subtle that we know he's a much bigger fish than anyone else in that room and swallow everybody up in a single bite. For Remick, this film is a testament to her abilities, considering that she's playing a pampered army wife that can easily be seen being both the victim or the instigator. There are scenes that suggest she's adulterous, but not enough to prove it, so we're left with ambiguity, not wanting to confirm or deny that we believe her side of things. James Stewart has played morally challenged characters before, but I like to this his Biegler is a response to Atticus Finch (the book, the film was made 3 years later), or to all those homogenized courtroom dramas that think on the level of whodunit. His character is more real, more when-will-you-pay-me. And one of the most overlooked performances can be issued to Joseph N. Welch as the judge, who is perplexed by the grandstanding attorneys and twisting developments in the case, and has some of the best one liners in the film.Otto Preminger has dedicated his career in taking chances in movies. He was a little ahead of his time in that regard since the real movement started in the mid-sixties and got fired up in the early seventies. He tackled so many different elements in both his famous works and not so famous. Take Carmen Jones (1954), the first all-black film starring Dorothy Dandridge during the height of segregation. One thing can be said about his movies is that while not all of them worked, they were never boring.I look at movies and television shows that deal with rape and courtroom dramas today. It surprises me that we still ask victims if they inadvertently asked for it to happen by wearing a slinky dress. It amazes me that we still look at sex as the greatest hush-hush thing in the world, that it's okay if you like it, just don't let it be seen that you REALLY like it. In that manner, we're still caught in the 50s. And this film proves it.
]]>Sun, 22 Jul 2007 10:13:04 GMTerico_77375erico_77375 Blog7/22/2007 6:13:04 AMI don&#39;t know if this movie is properly named. There are so many elements that this film covers; the actual murder seems more a catalyst than the main topic. Otto Preminger&#39;s 1959 masterpiece had to have been one of the most hated movies of that time, busting taboos left and right with such glee and vicious determination. But what I think is most interesting about this film is that nearly 47 years have passed, and yet these taboos are still around, we are just a little better at identifying them.The film starts off after the fact, when small-town attorney Paul Biegler (James Stewart) returns to town from a fishing trip to find a message about a new client arranged by his old friend (and resident drunk) Parnell (played with introspection by Arthur O&#39;Connell). It&#39;s a murder case involving an soldier (Ben Garazza) who killed a local barkeep who supposedly raped his wife (Lee Remick). Biegler isn&#39;t attracted by the case so much out of noble causes but because he&#39;s past due paying his secretary and possibly other bills. His once-over with the soldier isn&#39;t very promising, he&#39;s brash, obnoxious, and he was seen doing it. The only chance he can get him off is temporary insanity. Note that I didn&#39;t say if the soldier was in fact insane at the time, because he might not have been.There&#39;s just one other problem, Biegler&#39;s never defended a criminal case before. He was once a prosecutor for the county before losing that job to a man who had more political skill and less legal ones. The added bonus to this case for him is to run circles around the other guy. But the D.A. brings in a more superior man from the Attorney General&#39;s office (George C. Scott), to make him look good. From behind the scenes, this man is the master player, knowing where to strike the defendant and make his character and his justification obsolete.One of the brave things this film does, besides openly talking about rape and sexuality is show courtrooms not so much as a battle between right and wrong, but a sport between two sides that doesn&#39;t care anything about ideas. The fact that the wife is never shown with any sympathy until it&#39;s time for her to testify. And in fact, the state even goes so far out to make it a point that it might not have happened. That perhaps she did have sex with the deceased, but it was consensual. The highlight of this debate comes at the end when a last-minute witness comes with a piece of evidence that would solve this question, someone we know about earlier in the film. The prosecution&#39;s determination to disprove that evidence is so heated, they don&#39;t see what we already know is going to happen; they&#39;re going to tear their own case apart on the wrong assumption.That scene belongs to Scott, as this is his only glorious scene in the film. The rest of his part is making gestures and suggestions that are so subtle that we know he&#39;s a much bigger fish than anyone else in that room and swallow everybody up in a single bite. For Remick, this film is a testament to her abilities, considering that she&#39;s playing a pampered army wife that can easily be seen being both the victim or the instigator. There are scenes that suggest she&#39;s adulterous, but not enough to prove it, so we&#39;re left with ambiguity, not wanting to confirm or deny that we believe her side of things. James Stewart has played morally challenged characters before, but I like to this his Biegler is a response to Atticus Finch (the book, the film was made 3 years later), or to all those homogenized courtroom dramas that think on the level of whodunit. His character is more real, more when-will-you-pay-me. And one of the most overlooked performances can be issued to Joseph N. Welch as the judge, who is perplexed by the grandstanding attorneys and twisting developments in the case, and has some of the best one liners in the film.Otto Preminger has dedicated his career in taking chances in movies. He was a little ahead of his time in that regard since the real movement started in the mid-sixties and got fired up in the early seventies. He tackled so many different elements in both his famous works and not so famous. Take Carmen Jones (1954), the first all-black film starring Dorothy Dandridge during the height of segregation. One thing can be said about his movies is that while not all of them worked, they were never boring.I look at movies and television shows that deal with rape and courtroom dramas today. It surprises me that we still ask victims if they inadvertently asked for it to happen by wearing a slinky dress. It amazes me that we still look at sex as the greatest hush-hush thing in the world, that it&#39;s okay if you like it, just don&#39;t let it be seen that you REALLY like it. In that manner, we&#39;re still caught in the 50s. And this film proves it. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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