The most electrifying entertainment of our time!
An ailing barrister is thrust back into the courtroom in what becomes one of the most unusual and eventful murder cases of the lawyer's career when he finds himself defending a man being tried for the murder of a socialite.
Great thriller with superb classical interpretations. The plot moves sometimes too lazily.
**Why don't they make THESE movies anymore?** Apart from being a **GREAT** courtroom drama_(which some people don't think this movie is)_, this movie is so much **FUN** and **ENTERTAINING** to watch.Especially because of the characters of _Charles Laughton_ and _Elsa Lanchester_. But _Tyrone Power_ and _Marlene Dietrich_ were convincing too in their portrayal of an _innocent, afraid for his life man and a disloyal, unloving, poker faced wife_ respectively. Some people might say that they predicted the ending half way down the movie but i am not quite sure as to how they predicted the **ACTUAL ENDING** before it really unfolded before their eyes? This movie is great not only in the part played in court but also in the scenes shot in _Sir Wilfrid Robarts's_ office(also due to _Miss Plimsoll's caringly lovably irritating character!_). Perhaps the people(the minority I'd like to believe) who don't think this movie deserves the high ranking and rating that it's got saw this brilliant piece of art as more of a suspense thriller.But I loved this movie as a delightfully ENTERTAINING, MYSTERIOUS, DRAMA ! I rate this 10 just because I haven't seen any other CLASSIC courtroom drama that was intense throughout(barring some light hearted scenes with Sir Wilfrid Robarts) and yet in the end I somehow felt light-hearted and had a smile on my face rather than a thought provoking look on it. The commentary in the ending credits was innocently adorable for our times of social networking _"The management of this theater suggests that for the greater entertainment of your friends who have not yet seen the picture you will not divulge to anyone the secret of the ending of Witness for the Prosecution!"_ And mind you I am a _big fan of 12 Angry Men and How to Kill a Mockingbird!_ But this movie too is equally good in a different way altogether!
I'm constantly surprised that women's hats don't provoke more murders. Leonard Steven Vole finds himself on trial for the murder of a wealthy widow from whom he has inherited a fortune. Top barrister Sir Wilfrid Robarts takes up the defendants case, but he, along with everyone else, is stunned when Vole's seemingly loving wife Christine turns up to testify against the defendant. Based on Agatha Christie's successful 1953 play, "Witness For The Prosecution" benefited from fine tuning from master director Billy Wilder and writing partner Harry Kurnitz. Here the dialogue becomes razor sharp and the characters are fully realised with quite wonderful results, but chiefly the masterstroke here is not letting a court room drama become just that, a court room drama. The film plays out with no wasted scenes, no moments of boredom, and it has such vim and vigour you sometimes forget that there actually is drama in the story. The cast here are on fine form, Wilder had wanted to work with Charles Laughton for some time, and it's obvious that both parties here are getting the best out of each other. Laughton is a pure delight as Robarts, a sharp tongue, all bluster and cheeky into the bargain, his interplay with Miss Plimsoll (Laughton's real life wife Elsa Lanchester) is quality, and it's another testament to Wilder's genius for putting them together. Tyrone Power, in what would be his last completed film before sadly passing away, is devilishly smart as Vole, whilst Torin Thatcher is great as the gruff prosecution barrister Myers. Yet as good as they all are, they all sit in the shadow of Marlene Dietrich and her turn as Christine Vole, sultry and femme fatalistic, it's a sizzling performance that crowns this delightful film. It occurred to me overnight that it's probably the closest film that Wilder got to being Hitchcockian, and I'm pretty sure the big master of suspense himself would have enjoyed this one. It's a mystery that is dramatic, it's a thriller that is also funny, it's pretty much a multi genre classic. 9/10
I might be asking for trouble here, but did Charles Laughton ever actually make a bad film? He leads this one as the brilliant but curmudgeonly barrister "Sir Wildred Robarts" with oodles of charisma and style. Marlene Dietrich portrays the evil, manipulative "Christine Vole" marvellously and even Tyrone Power, more the matinée idol than the serious actor, delivers as required in Billy Wilder's outstanding rendition of the Agatha Christie story about a man accused of murdering an elderly lady who has just happened to leave him a great deal of money in her will. Elsa Lanchester is suitably annoying/scary/lovable as the nurse trying to keep her ailing charge from keeling over mid-trial and a slew of other capable British actors - including a wonderfully charismatic turn from Una O'Connor in the witness box - fill in the supporting roles well. It is one of those very rare occasions where everything just gels perfectly and it really is fun to watch. Some of Laughton's wry asides and put-down lines are genuinely laugh out loud too. Had it not come up against "Bridge on the River Kwai" then I'm sure it would have garnered at least one Oscar!
**Billy Wilder’s Fascinating Scrutiny** This may well be the most definitive masterpiece directed by the genius Billy Wilder, which is already saying volumes. Without a shadow of a doubt, Witness for the Prosecution stands as the finest cinematic adaptation of an Agatha Christie play. It is a courtroom drama that keeps audiences on the edge of their seats from the opening frame to its unexpected climax. Based on the ingenious play of the same name by the Queen of Crime, the feature film not only captures the essence of the original mystery but elevates it to unimaginable heights, thanks to astute direction and a stellar ensemble cast. The narrative takes shape when the shrewd, curmudgeonly barrister Sir Wilfrid Robarts—played by Charles Laughton at the absolute peak of his powers, delivering a screen presence that defies categorization—agrees to defend Leonard Vole (Tyrone Power) despite his own recent health scares. Vole stands accused of murdering a wealthy widow with whom he shared a seemingly opportunistic friendship. The crux of the trial rests on the testimony of his enigmatic wife, Christine Helm Vole (the towering Marlene Dietrich), whose cold demeanor and contradictions layer the defense with complexity and ambiguity. Wilder displays an astonishing knack for weaving an intricate narrative where every single detail, line of dialogue, and plot twist is calculated with clockwork precision. The film serves as a fascinating character study. On one hand, the dynamic between Sir Wilfrid and his devoted nurse, Miss Plimsoll—played by a delightful and endearing Elsa Lanchester, Laughton’s real-life wife—provides moments of comic relief that contrast perfectly with the mounting tension of the trial. On the other, the leading performances are nothing short of phenomenal: Laughton commands every scene with his charisma, intellect, and sharp portrayal of a man who revels in legal logic; Dietrich is magnetic, projecting a mystique that forces the audience to second-guess her true motives; and Tyrone Power completes the trio with a compelling performance that deftly navigates the gray area between innocence and guilt. Master filmmaker Billy Wilder, renowned for his razor-sharp dialogue and complex structures, uses the courtroom setting to milk the drama for all its worth. The black-and-white cinematography accentuates the atmosphere of mystery and sophistication, cementing the film as a testament to the power of scriptwriting and direction. Finally, its resolution—one of the most shocking and memorable twists in cinematic history—delivers a final turn of the screw that solidifies this title as an absolute triumph and essential viewing for any lover of the Seventh Art.
**Witness for the Prosecution (1957)** _Directed by Billy Wilder_ Billy Wilder's adaptation of Agatha Christie's courtroom drama is superbly crafted entertainment, a masterclass in pacing, performance, and the art of building suspense around a trial. Charles Laughton is phenomenal as Sir Wilfrid Robarts, the barrister defending Leonard Vole (Tyrone Power) against murder charges. The casting is perfect; Laughton was the ideal comic actor for the dry British wit, delivering every line with impeccable timing and cantankerous charm. Wilder apparently added the nurse (played brilliantly by Elsa Lanchester, Laughton's real-life wife) as a comic foil for Laughton. That choice worked beautifully for comic relief, lightening the tension without undermining the drama. Their bickering adds humanity and humor to what could have been a relentlessly grim story. Christie's drama-building talent is quite evident here. The story is riveting, the courtroom scenes crackling with energy and emotional electricity. Marlene Dietrich is icy and enigmatic as Christine Vole, impossible to read, holding every card close. The film keeps you guessing, even when you suspect something isn't quite right. The ending has a twist that, while not entirely predictable, was telegraphed by the defense being a tad too neat. And Wilder, typically, rushed the denouement, so the film just ended rather suddenly, like a few of his other films. That rapid-fire conclusion is pure Wilder; he tells you what you need to know and gets out before you can catch your breath. It doesn't make the film any less enjoyable, though. Sometimes a sudden ending is the right ending. This is one of those films where craft and performance elevate material that's already excellent to begin with. Christie gives you the bones, Wilder gives you the pacing and wit, and Laughton gives you the soul. A classic courtroom drama that earns its reputation: my rating 8/10.
