Written by James M. Tate / 8/15/2016 / No comments / claude reins , courtroom drama , joey heatherton , nick adams , richard chamberlain , sixties
ANATOMY OF A COURTROOM AGENDA: TWILIGHT OF HONOR
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Richard Chamberlain faces Joey Heatherton YEAR: 1963 |
Since the 1940's (Elia Kazan's BOOMERANG! was our last review) the Courtroom Drama has shared similar traits: an idealistic underdog Defense Attorney, who's an alone and easy target against a usually Fascist-like prosecutor in bed with everyone, including the judge and literally, in this case, even the jury: Although here, Richard Chamberlain's young, inexperienced David Mitchell isn't completely by himself with an old mentor in his corner – during this time, working alongside veteran actor Raymond Massey on TV's popular DR. KILDAIRE, Richard's scenes with Claude Rains as retired defense attorney Art Harper (an ancient, creaky-boned version of Orson Welles in COMPULSION, who was channelling Clarence Darrow) is a cakewalk, their scenes providing color-commentary following each day in court or leading to the next round...
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Joey Heatherton facing Richard Chambarlain |
Far more voluptuous than Lee Remick, just take one look at our newcomer "Introducing" starlet, Joey Heatherton as unapologetic floozy Laura Mae Brown, and you might get the idea – her and Adams make an odd pair, indeed: she's a trophy wife and he hardly deserves one, but desperately wants to keep it: and, we learn, is far more vulnerable than dangerous. In real life, Nick was a tragic figure who ended his life with suicide, and, on television, his energetic style could hardly be contained within the small screen...
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Nick Adams with a profile resembling Ben Gazzara |
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Beauty and The Beast, Joey and Nick FILM SCORE: **1/2 |
Starting out with Gregory's Norris Bixby, who we quickly learn plans on running for Governor and needs this case to seal the deal, as he follows the car that holds Adams while the town mob roars in his favor and against the doomed culprit: In such a limited, one-dimensional role, he's given absolutely no room to stretch beyond a cliched caricature (unlike ANATOMY prosecutor George C. Scott, who, though edgy and tough, actually seems... human) of a vicious redneck in fancy attire, unrealistically threatening the jury in a ridiculous Closing Statement following an eloquent monologue by Chamberlain, turning-in an otherwise decent performance for a semi-entertaining but insanely manipulating low-budget melodrama, often seeming overqualified in the lead role despite former screen giant Rains at arm's length – but since the same number of odds are stacked against his enemies (i.e. everyone expect Rains and Adams) by the movie itself... as are thrust upon him by the narrow-minded town... it's all too easy a case to win no matter what the actual risk or climb may have been on paper.
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