In Mark Robson’s 1955 courtroom drama “Trial,” audiences are treated to an entertaining exploration of justice, prejudice, and political machinations. This film stands out for its engaging narrative, sharply defined characters, and a blend of idealism and cynicism that makes it a compelling watch.
The story revolves around David Blake, portrayed by Glenn Ford, a law professor facing the possibility of losing his job unless he gains some practical courtroom experience. Ford’s performance is a highlight, showcasing his signature knitted-brow intensity and rapid-fire dialogue delivery. Blake’s journey begins with a seemingly straightforward mission to defend Angel Chavez, a young Mexican boy accused of murdering a 17-year-old white girl in a small, racially tense town.
Angel Chavez, played by Rafael Campos, is at the center of this maelstrom. His innocence seems apparent—the girl, a known sufferer of rheumatic fever, likely died of natural causes. However, the racial prejudices and fears of the townspeople transform this case into a potential lynching. Enter Arthur Kennedy’s character, Barney Castle, a slick and persuasive lawyer who sees Blake as a useful pawn in his own broader, more sinister agenda.
Castle’s character embodies the film’s cynical edge. He is a high-talking, wheeler-dealer lawyer who uses the trial not for justice but as a tool for his own ambitions. Castle aligns himself with various pseudo-communist organizations, seeking to turn Angel into a martyr to further inflame the Civil Rights movement. His motivations are revealed in a particularly pungent scene where he exploits a fundraising rally, revealing his true, money-grubbing nature to Blake.
The film skillfully juxtaposes Blake’s earnest idealism with Castle’s cynical manipulations, creating a tension that drives the narrative forward. As Blake delves deeper into the trial, he uncovers layers of corruption and deceit, leading to his disillusionment. His moral outrage is palpable, especially when he learns about Castle’s ulterior motives.
Juano Hernandez delivers a powerful performance as Judge Theodore Motley, a black judge presiding over this racially charged trial. His presence adds a significant layer of complexity, as he navigates the treacherous waters of local politics and racial tensions. Hernandez’s portrayal is dignified and compelling, grounding the film’s more dramatic elements with a sense of gravitas.
The courtroom scenes are riveting, particularly the jury selection process, which takes up a significant portion of the film. This middle third of the movie delves into the intricacies of local politics and the biases that influence the trial. The tension is palpable as Blake and Castle navigate these treacherous waters, trying to secure a fair trial for Angel amidst the overwhelming prejudice.
The film does not shy away from depicting the extreme ends of the political spectrum. It presents a liberal fantasy where the heroes are centrists fighting against both fascist right-wing elements and left-wing communist agitators. The local Klan members are portrayed as almost sub-human, a minor threat compared to the manipulative communists who dominate the film’s antagonistic forces. This portrayal is somewhat heavy-handed but effective in illustrating the polarized political climate of the era.
Dorothy McGuire plays Abbe Nyle, a young woman who transitions from being Castle’s secretary and lover to Blake’s confidante and romantic interest. Her character provides a cynical commentary on the events unfolding around her. Disillusioned by Castle’s machinations, she reveals her pained expectations of Blake’s impending downfall. Her journey mirrors the broader narrative arc, from cynicism to a glimmer of hope as the trial progresses.
The film’s climax is both thrilling and heartbreaking. As Blake edges closer to a legal victory, Castle’s true intentions come to light. Determined to turn Angel into a martyr, Castle forces Blake to put Angel on the stand, knowing it will lead to his destruction. The scene is a masterclass in tension and drama, showcasing the film’s ability to keep audiences on the edge of their seats.
Despite its darker themes and cynical undertones, “Trial” offers a resolution that is both satisfying and somewhat idealistic. Glenn Ford and Juano Hernandez deliver performances that ultimately save the universe, so to speak, with a resolution that ties up the film’s various threads in a neat, if somewhat unrealistic, bow. This ending, while perhaps overly tidy, remains beloved in the tradition of classic Hollywood storytelling.
In conclusion, “Trial” is a film that successfully blends entertainment with a sharp critique of social and political issues. Its even-handed cynicism, contrasted with moments of idealism, creates a rich and engaging narrative. The performances, particularly those of Glenn Ford and Arthur Kennedy, elevate the film, making it a must-watch for fans of courtroom dramas and classic cinema. Mark Robson’s direction ensures that the film remains a timeless exploration of justice and morality, offering viewers both a gripping story and a thought-provoking commentary on the world of its time.
