Catching-Up With Two Courtroom Dramas: Suspect and 12 Angry Men

Posted on June 24, 2018 by Lisa Marie Bowman

As a part of my continuing effort to get caught up with reviewing all of the movies that I’ve seen this year, here’s two courtroom dramas that I recently caught on This TV.

Suspect
Released in 1987
Directed by Peter Yates
Starring Cher, Dennis Quaid, Liam Neeson, John Mahoney, Joe Mantegna, Philip Bosco, Fred Melamed, Bernie McInerney, Bill Cobbs, Richard Gant, Jim Walton, Michael Beach, Ralph Cosham, Djanet Sears

Suspect is a hilariously dumb movie. How dumb is it? Let me count the ways.

First off, Cher plays a highly successful if rather stressed public defender. And don’t get me wrong. It’s not that Cher is a bad actress or anything. She’s actually pretty good when she’s playing Cher. But, in this movie, she’s playing someone who managed to graduate from law school and pass the DC bar.

Secondly, Cher is assigned to defend a homeless man when he’s accused of murdering a clerk who works for the Justice Department. The homeless man is deaf and mute, which isn’t funny. What is funny is when he gets a shave and a shower and he’s magically revealed to be a rather handsome and fresh-faced Liam Neeson. Liam doesn’t give a bad performance in the role. In fact, he probably gives the best performance in the film. But still, it’s hard to escape the fact that he’s Liam Neeson and he basically looks like he just arrived for a weekend at Cannes.

Third, during the trial, one of the jurors (Dennis Quaid) decides to investigate the case on his own. Cher even helps him do it, which is the type of thing that would get a real-life attorney disbarred. However, I guess Cher thinks that it’s worth the risk. I guess that’s the power of Dennis Quaid’s smile.

Fourth, the prosecuting attorney is played by Joe Mantegna and he gives such a good performance that you find yourself hoping that he wins the case.

Fifth, while it’s true that real-life attorneys are rarely as slick or well-dressed as they are portrayed in the movies, one would think that Cher would at least take off her leather jacket before cross-examining a witness.

Sixth, it’s not a spoiler to tell you that the homeless man is innocent. We know he’s innocent from the minute that we see he’s Liam Neeson. Liam only kills who people deserve it. The real murderer is revealed at the end of the film and it turns out to be the last person you would suspect, mostly because we haven’t been given any reason to suspect him. The ending is less of a twist and more an extended middle finger to any viewer actually trying to solve the damn mystery.

I usually enjoy a good courtroom drama but bad courtroom dramas put me to sleep. Guess which one Suspect was.

12 Angry Men
Released 1997
Directed by William Friedkin
Starring Courtney B. Vance, Ossie Davis, George C. Scott, Armin Mueller-Stahl, Dorian Harewood, James Gandolfini, Tony Danza, Jack Lemmon, Hume Cronyn, Mykelti Williamson, Edward James Olmos, William Petersen, Mary McDonnell, Tyrees Allen, Douglas Spain

The 12 Angry Men are back!

Well, no, not actually. This is a remake of the classic 1957 film and it was produced for Showtime. It’s updated in that not all of the jurors are white and bigoted Juror #10 (Mykelti Williamson) is now a member of the Nation of Islam. Otherwise, it’s the same script, with Juror #8 (Jack Lemmon) trying to convince the other jurors not to send a young man to Death Row while Juror #3 (George C. Scott) deals with his family issues.

I really wanted to like this production, as it had a strong cast and a strong director and it was a remake of one of my favorite films. Unfortunately, the remake just didn’t work for me. As good an actor as Jack Lemmon was, he just didn’t project the same moral authority as Henry Fonda did the original. If Fonda seemed to be the voice of truth and integrity, Lemmon just came across like an old man who had too much time on his hands. Without Fonda’s moral certitude, 12 Angry Men simply becomes a story about how 12 men acquitted a boy of murder because they assumed that a woman would be too vain to wear her glasses to court. The brilliance of the original is that it keeps you from dwelling on the fact that the accused was probably guilty. The remake, however, feels like almost an argument for abandoning the jury system.

Guilty Pleasure No. 31: Hail, Caesar! (dir by the Coen Brothers)

Posted on July 26, 2016 by Lisa Marie Bowman

Sometimes, I wonder if I was the only filmgoer who actually enjoyed Hail, Caesar! when it was released in February.

Oh, don’t met wrong. I know that I’m being a bit overdramatic when I say that. It got some good reviews from the critics, though the praise was rather muted when compared to the reviews that traditionally greet the latest film from the Coen Brothers. I know more than a few people who have agreed with me that Hail, Caesar! was an entertaining lark of a film.

But I know a lot more people who absolutely hated Hail, Caesar! Of course, no film is going to please everyone and the Coen Brothers have always had a tendency to attempt to deliberately alienate their audience. But what has always struck me is the fact that the people who disliked Hail, Caesar seem to really, really dislike it. Talk to them and you get the feeling that they view Hail, Caesar as almost being some sort of a crime against both humanity and cinema.

Taking place in a stylized Hollywood in 1951, Hail, Caesar! tells the story of Eddie Mannix (Josh Brolin). Eddie is a shadowy figure. As head of production at Capitol Pictures, Eddie’s job is to keep the “bad” behavior of the stars from getting out into the press. (The press is represented by Tilda Swinton who, in a typical Coen Brothers twist, plays twin sisters who are rival gossip columnists. If the thought of that makes you smile, you are potentially a part of the right audience for Hail Caesar. If it makes you roll your eyes, you should probably avoid the film.) Eddie is the most powerful man in Hollywood and he will do anything to protect the image of the American film industry. He will lie. He will cheat. He will threaten. He is so ruthless and so good at his job that even Lockheed Martin is trying to hire him away from Capitol. And yet, at the same time, Eddie is also a family man and a Catholic who is so devout that he goes to confession on a nearly hourly basis.

(For all you non-Catholics out there, Pope Francis only goes to confession twice a month.)

Hail, Caesar! follows Eddie as he deals with a series of potential problems. Temperamental director Laurence Laurentz (Ralph Fiennes) is upset because he’s been forced to cast Hobie Doyle (Alden Ehrenreich, giving the film’s best performance), a good-natured but inarticulate cowboy star, in his sophisticated comedy. Synchronized swimmer DeeAnna Moran (Scarlett Johansoon) is not only pregnant but unmarried as well! (It’s the 50s, remember.)

However, the biggest crisis is that Baird Whitlock (George Clooney) has vanished from the set of his latest film. A mysterious group known as The Future has taken credit for kidnapping him. It’s not really much of a spoiler to reveal that The Future is a cell of communist scriptwriters and they are determined to convert the rather dumb Baird to the struggle. As opposed to most films about Hollywood in the 50s, the communist screenwriters are portrayed as being a bunch of self-righteous and rather cowardly nags, the majority of whom spend more time debating minutiae than actually trying to the overthrow capitalism. In many ways, Hail, Caesar is the anti-Trumbo.

As you might guess from the plot description, there’s a lot going on in Hail, Caesar but none of it really adds up too much. Nor is it supposed to. We’re encouraged to laugh at these frantic characters, as opposed to sympathize with them. Eddie Mannix and Hobie Doyle both emerge as heroes because they’re the only characters who remain calm and confident, regardless of what strangeness is happening onscreen. Eddie may be ruthless, the film tells us, but at least he gets results. Hobie may not be the smartest or most talented guy in Hollywood, we are told, but at least he doesn’t pretend to be anything other than who he is.

Hail, Caesar! is a bit of a lark, a celebration of style over substance. As far as Coen Brother films go, Hail, Caesar has more in common with Burn After Reading than No Country For Old Men. The film is largely an inside joke aimed at people who know the history of Hollywood, which is perhaps why some viewers reacted so negatively. Inside jokes are fun when you’re in on the joke. When you’re not in on it, though, they’re just annoying.

As for me, I thoroughly enjoyed Hail, Caesar! It may not be the Coens at their best but it’s a lot of fun and it appealed me as both a history nerd and a lover of old movies. The best parts of Hail, Caesar! are the scenes that parody the largely forgotten, big-budget studio productions of the 1950s. This is the rare film that acknowledges that not every film made before the 1960s was a masterpiece. The Coens love movies but that doesn’t keep them from getting a little bit snarky. For example, check out this production number featuring Channing Tatum:

Is Hail, Caesar self-indulgent?

Yes.

Is it largely an inside joke?

Yes.

Did I absolutely adore it?

You better believe I did.

Previous Guilty Pleasures

Horror Trailer: Bone Tomahawk

Posted on October 4, 2015 by Arleigh

We never have enough horror set in the Old West. It’s a setting that should be rife with infinite possibilities for some very scary storytelling.

When we do get Old West horror they tend to be direct-to-video and low-budget affairs. Now don’t get me wrong low-budget horror sometimes are some of the most effective. The closer it gets to it’s grindhouse roots the better. Then again some do end up being a pile of turds that end up getting relegated in the dollar bin at supermarkets.

My hope is that the latest Old West horror starring Kurt Russell will be the former and not the latter.

Bone Tomahawk made it’s premiere at this year’s Fantastic Fest and from all intents and purpose had a very positive reception to it’s genre mash-up of cowboys vs cannibals. Now what better way to follow-up The Green Inferno but with another cannibal fare set in the dusty plains and canyons of the Old West.