Judgment at Nuremberg (1961)
Directed by Stanley Kramer
In 1947, four German judges who served on the bench during the Nazi regime face a military tribunal to answer charges of crimes against humanity. Chief Justice Haywood hears evidence and testimony not only from lead defendant Ernst Janning and his defense attorney Hans Rolfe, but also from the widow of a Nazi general, an idealistic U.S. Army captain and reluctant witness Irene Wallner.
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What critics compared Judgment at Nuremberg to
The film's central dramatic twist is also somewhat unsatisfying, and other films -- like Judgment at Nuremberg and The Night Porter -- have tackled the consequences of Naziism and the intertwining of sex and power in post-war Germany with much greater skill and vision.
Just as Stanley Kramer’s Judgement at Nuremberg explored the Nuremberg trials against the backdrop of the emerging Cold War, Vanderbilt’s film holds the trials up as a mirror to our current era of authoritarianism.
Bu bağlamda en bilinen örnek, Stanley Kramer’ın 1961 tarihli klasiği Judgment at Nuremberg. Spencer Tracy, Burt Lancaster, Judy Garland, Marlene Dietrich, Maximilian Schell ve Montgomery Clift gibi isimleri bir araya getiren bu film, konuyla ilgilenenler için hâlâ temel referanslardan biri olma özelliğini koruyor.
In this context, the most well-known example remains Stanley Kramer’s 1961 classic Judgment at Nuremberg.
Stanley Kramer’s excellent 1961 film Judgment at Nuremberg was a better take on both that idea and the trials at large…
…the film suffers compared to far better efforts done before, be they documentaries, Oscar-winning films like JUDGMENT AT NUREMBERG, or miniseries from half a century ago like QB VII, HOLOCAUST, and THE WINDS OF WAR.
In the 60s, Stanley Kramer’s Judgment at Nuremberg was a fictionalised account of the judges’ trial…
Fox is very attractive, of course, but she gets little opportunity to do anything but run around and look concerned, and the director’s use of close-ups of her and LaBeouf (especially one near the beginning where he has Ben Seresin’s camera whirling around them as though they were redoing a scene from “Judgment at Nuremberg”) is oppressive.