Posted by Larry Gleeson

Abe Lincoln in Illinois, is a period piece, directed by John Cromwell, and tells the story of Abraham Lincoln’s early days, including the tragedy of his first love. This morning as I was watching the news, a film thought to be lost over 100 years ago was discovered cleaned, restored and digitized. The film was originally titled, The Heart of Lincoln (1915). The film was directed by and starred Francis Ford, the legendary, Hollywood director, John Ford’s older brother. John Ford directed the Henry Fonda led Young Mr. Lincoln (1939), a year before Cromwell’s film. Cromwell’s Abe Lincoln in Illinois was adapted from the Pulitzer Prize winning play of the same title by Robert Sherwood. The leading man from Broadway transitioned to film to reprise his role as Abe Lincoln (Raymond Massey).

The opening of the film was reminiscent of Daniel Boone as a lone man paddling a canoe in a wooded area covered by fog. Triumphant non-diegetic music sets the tone. As the introductory credits roll a male deer is seen on a ridge followed by a dissolve transition revealing wagon rolling through a gap into a clearing before crossing a small river. The non-diegetic music also transitions into a spiritual song. Eventually a series of log cabins enters the screen to establish a place and time. A text overlay reveals the year to be 1831.Rain is pouring down outside the cabins. The camera moves inside to a long-legged Abe by the fire reading book, while Abe’s father, Tom (Charles Middleton) is lamenting the weather and its impact on their survival. Soon, a pair of locals burst through the doors for Abe as they have been hired to take a raft of hogs down the river to New Orleans. Abe has a moment with his mother, Sarah (Elisabeth Risdon), who supported and encouraged Abe’s reading. From here, the reader is treated to the rafting adventure, Abe’s introduction to New Salem, Illinois, where he first sees Anne Rutledge (Mary Howard), through his years as a small shop owner, then into the law and politics in Springfield, Illinois.

Abe begins his political ascent and becomes known as a trustworthy and compassionate man. It’s his time in Springfield where Cromwell delves into Abe’s romantic life. True to his humble upbringing, the death of Anne Rutledge, and his awkward appearance, Abe was far from a ladies’ man. With some help from Mary Todd’s brother-in-law, Abe is matched with the ambitious Mary Todd (Ruth Gordon). The Todd’s were a well-respected and prominent family from Lexington, Kentucky, and Mary boasted that she was going to marry a man who would be President someday.  As Abe continued to rise in political stature, Mary Todd smoothed the path for Abe. Mary had several suitors including Stephen A. Douglas (Gene Lockhart). In 1858 seven debates between Lincoln and Douglas took place across the state of Illinois for an open U.S. Senate seat. His oratory style was not the lofty style of Stephen A. Douglas. Yet, Abe’s logical reasoning and impeccable timing won over crowds clamoring to hear him speak. While Abe lost, he gained national prominence that lead to his election as President in 1860.

For his role as Abe Lincoln Massey would receive an Oscar nomination. I found it difficult to not compare Massey and Daniel Day-Lewis’s performances. Both are cut from the same cloth. Cinematographer James Wong Howe’s use of deep focus, location-based photography, and chiaroscuro landed the second of his ten Oscar nominations. Surprisingly, neither Robert Sherwood nor Grover Jones (credited with adaptation) received nominations. I’m surprised because what emerges from the film, besides the exquisite mise-en-scen, is how powerful Abraham Lincoln’s words were. I have seen the 1939 Young Mr. Lincoln, as well as the 2012 Lincoln with Lewis and Sally Field as Mary Todd. Abe Lincoln from Illinois more than holds its own. Philosophically, it tops them. Highly recommended.

Reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar

Alice Adams (1935), a dramatic romantic comedy, directed by George Stevens, was nominated for two Oscars, Best Picture, and Best Actress in a Leading Role for Katherine Hepburn’s work as Alice Adams. The film helped establish Stevens as a formidable director and stabilized Hepburn career after several box office flops. As Alice Adams, Hepburn is lively, animated, and delivers her lines with physicality and with credibility.

The film features several other solid performances. Fred Stone (Virgil Adams) has a self-deprecating manner along the lines of W.C. Fields – only Stone stays primarily within the dramatic. A twenty-seven-year-old, Fred MacMurray (Double Indemnity), plays a dashing young suitor, Arthur Russell. Hattie McDaniel (Melana), who would go on to become the first African American nominated and win an Oscar, provides a solid presence in the Adams household, especially when Arthur comes calling.

With Arthur in the house, and with the Adams family attempting to ensure the dinner is up to par for a social engagement, on what is a blistering evening, the subtle humor begins to ramp up. Mrs. Adams engaging in polite conversation as Virgil is finishing dressing. Alice is frantic moving from one worrying detail to the next. First sewing up her father’s formal dress shirt that doesn’t button up. Then, ensuring they use the stairs to make an entry into their own living room.

The dinner scene has some high moments of comedy where seemingly everything goes haywire. Without much of  a word, dinner has ended. Alice and Russell share a moment outside on the porch. Alice, beside herself, bids Russell farewell feeling the aftereffects of the dinner. Russell politely tells Alice it’s just a good night, not the end of their relationship.

Ann Shoemaker (Mrs. Adams) is a watchful mother, seeking a better life for Alice – usually in the form of pushing Virgil to do more to provide for Alice.  Alice wears nice-looking dresses from two years ago, an eternity in the fashion world, and picks flowers for a corsage from a municipal park. Alice never really complains. Instead, she users her imagination and her fluency in French to put forth an aura of sophistication and intelligence – she is both.

Eventually, Virgil moves forward in business. Mr. Lamb is a sharp, successful businessman and despite Mr. Lamb paying Virgil while he is recuperating, Virgil takes the glue formula he and another employee, now deceased, created while under the employ of Mr. Lamb. Virgil goes all in putting every penny into the glue works business venture. When a troubling situation arises involving Virgil’s son, Walter (Frank Albertson), Virgil is at wits end. Walter is a standup young man, and Virgil doesn’t want him to end up in the penitentiary.

Made in the fully enforced Production Code, Depression-era of 1935, Alice Adams, subtly deals with the economic shortfalls and the social issues prevalent in small-town America. The cinematography, by Robert De Grasse, delivers insight into the intricacies of relationship dynamics. The costuming and makeup reveal distinct social stature. But it’s the well-designed mise-en-scen that informs the most.

Primarily a character-driven narrative, based on Booth Tarkington’s Pulitzer Prize winning 1921 novel, Alice Adams, the film manages to wrest the sentiment of a young girl who desires to climb the social ladder. Stevens gets Hepburn to emanate the interior feelings of Alice as she competes with her cross-town rival, Mildred Palmer, a society girl who has her eyes on Arthur.  But when Lamb builds a glue factory in a large building across the street from Virgil’s glue works, the Adams family finds itself on the brink.

What transpires is heartwarming as the Adams family rallies around Walter’s trouble. Mr. Lamb and Virgil reconcile, and Alice finds love despite, or possibly due to, the idiosyncrasies of her imagination and curiosity-seeking behavior. With a runtime of one hour and thirty-nine minutes, Alice Adams is charming and delightful. Highly recommended.

Written and reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar

Giant (1956) received 10 Oscar nominations with George Stevens taking home the statuette for Best Director. The film, based on his adaptation of Edna Ferber’s 1952 best-selling novel, is three hours and seventeen minutes long following the Benedict family across several generations. Along the way the audience is introduced to cattlemen, roughnecks, the underclass. The Benedicts are Texas royalty. Jordan Benedict (Rock Hudson) referred to as Bick needs a wife and courts Leslie (Liz Taylor). Leslie is an East Coast girl – refined, educated, spirited, well-spoken, and attractive. After the two are married they settle at the Reata Ranch – a massive 594,000-acre cattle ranch. A hired hand, et Rink (James Dean), beloved by Bick’s sister is bequeathed a small patch of the ranch and strikes oil.

The narrative covers a lot of ground while keeping centered on these three characters; Bick, Leslie, and Jett. Dean and Hudson both received nominations for Best Actor in a Leading Role for their work in Giant. Unfortunately, Dean’s nomination was posthumously awarded as he had succumbed to injuries sustained in a fatal car crash on a rural California highway just days after the film wrapped. While Taylor was not nominated, her entrance at the Benedict ranch wearing a powder blue sundress with matching bow and heels, her blue eyes, and raven black hair, is a spectacle to behold. Taylor maintained of all the roles she had; the role of Leslie Benedict came the closest to matching her off-screen persona.

Stevens attention to detail in Giant is meticulous. William T. Mellor is credited as the Director of Photography. Mellor had won an Oscar for Best Cinematography, Black-and-White in 1952 for A Place in the Sun and would go on to win second Oscar for Best Cinematography, Black-and-White in 1960 for The Diary of Anne Frank. Today many cinephiles comment on modern auteur Wes Anderson’s works with his frames being painstakingly shot to photographic perfection. Well, Mellor was Wes Anderson before Wes Anderson became Wes Anderson. But there’s more in Giant than just the photography. It’s the film’s mise-en-scen with its costuming, it’s set design, the cinematography, the non-diegetic musical score, the pacing, the acting, the narrative, and the continuity editing that make the story come to life.

Giant is not a perfect film by any stretch of the imagination. The characters age with some costuming and hair styles adjustments. Unfortunately, the makeup falls short of the mark. Maybe a nitpick. But while the film’s narrative is engaging, a few of the film’s scenes feel a bit gratuitous. Seeing Jett addressing an empty room, falling forward knocking over an entire row of folding tables and tablecloths before passing out for the second time in one evening seemed a tad unnecessary. Although, it does seem to underscore the ridiculousness of the entire event. Nevertheless, Judy Benedict (Fran Bennett) needed to see what kind of person Jet was in order to move on with her life. As this was James Dean’s capstone, It makes sense to keep it in the final product.

Seeing Rock Hudson, originally typecast to be a matinee idol, James Dean, and Liz Taylor at the top, or near the top, of their career performances is a treat. The entire cast is excellent. The film was made in the Hollywood era of the epic – several of which were nominated for Best Picture in 1956, including The Ten Commandments, The King and I, and Around the World in Eight Days (winner). In addition, Stevens chose to use IB Technicolor, a specific type of Technicolor print known for its longevity and high color stability prints. While Giant was made nearly seventy years ago, it is still an epic telling of Texan history. Highly recommended.

Written and reviewed by Larry Gleeson

Somebody Up There Likes Me, based on the autobiography of Rocky Graziano, is the story of Rocky Barbella, a.k.a, Rocky Graziano, a world champion middleweight boxer. Paul Newman stars in the leading role of Rocky. Other cast members include Pier Angeli (Norma), Everett Sloan (Irving Cohen), Eileen Heckart (Ma Barbella), Sal Mineo (Romolo), Harold J. Stone (Nick Barbella (, and an uncredited appearance by Steve McQueen (Fidel). Perry Como delivers a non-diegetic rendition of the film’s title song to begin and end the film’s narrative.

Young Rocky endures abuse from his father, a retired preliminary pugilist who has wine breath and only shows Rocky the back of his hand. Young Rocky is shown running away down an empty street. A dissolve transition shows a young man running towards camera eluding the police. Rocky has become a two-bit, wise guy, street thug terrorizing the neighborhood. The only person who hasn’t given up on Rocky, at this point, is his mother, Ma Barbella. Rocky takes it too far and robs a school inside the pollock’s turf.

After his arrest, Rocky is sent to a reformatory where he assaults a guard landing Rocky at the infamous Rikers Island, New York City’s largest jail. Ma Barbella is at her wits end and tells Rocky he’s the only one that can help himself. A remorseful Rocky promises to shape up with his catchphrase, “Don’t worry about a thing.” Upon his release, Rocky is forced to volunteer to be drafted for service during World War II. Rocky is not cut out for life in the Army. After knocking out a Captain, who threatened to teach Rocky a lesson, Rocky goes Absent Without Leave (AWOL) for several months.

While AWOL Rocky begins boxing to make money to “buy off” the Captain he knocked out. Before the MP’s catch Rocky, he wins six fights by knockout. Rocky’s professional career is put on hiatus as he is dishonorably discharged from the Army and is sentenced to one year of hard labor at Leavenworth. Rocky showed a lot of promise as a fighter drawing the attention of the boxing team coach at Leavenworth. The coach manages to convince Rocky to train and work. Rocky returns to fighting in the best shape of his life. The Army boxing coach infused into Rocky to use his hate inside the boxing ring to overcome his difficulties outside the ring.

Somebody Up There Likes Me is as much a redemptive love story as it is a boxing film. The film has some similarities thematically and narratively with On the Waterfront, starring Marlon Brando as a washed-up boxer, who took a dive, and Eva Marie Saint as the shy, reserved love interest with fortified morals. Norma, Rocky’s love interest, is shy and reserved, but her heart is bursting with love for Rocky. Over time Rocky manages to channel his inner hate as a boxer to overcome his life’s difficulties. When Rocky falters, the timid Norma exerts her powerful love to influence and to help Rocky see through his confusion. Overcoming childhood abuse and his inner hate, Rocky comes to love and, by the age of 28, is a husband, a father, a neighborhood hero, and a world champion middleweight boxer.

Interestingly, James Dean was originally cast in the title role but was replaced by Paul Newman following his untimely death. Also, a decision was made to move away from a Technicolor format on location in New York City to black and white format on studio sets, possibly to emphasize the good versus evil theme. With a runtime of one hour and fifty-three minutes, Somebody Up There Likes Me, doesn’t come across as preachy. But certainly, cheeky at times. Seeing the interactions between opposites in Norma and Rocky is quite sweet. Highly recommended. Happy Valentine’s Day!

Reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar.

Summer of ’42, directed by Robert Mulligan tells the story of three friends who vacation on an island in the Summer of ’42 and how certain events transform their lives. The film opens with montage of nostalgic photos set melancholic non-diegetic music. In turn, the beat increases in tempo becoming more upbeat and more pensive. The film won an Oscar for Best Music. Voice-over narration informs the audience of a time and place. the time is when the narrator was fifteen years old, and the place is an island where the narrator’s family came for summer vacation. It was a simpler time and a less hectic locale where loneliness tended to abound.

In the opening scene, Director of Photography, Robert Surtees uses an out of focus establishing shot before bringing a foregrounded flowered bed into focus eventually bringing the three running figures into focus on a beach.  The narrator introduces his friends that summer, Oscy, his best friend, and Benji, his next to best friend. The three called themselves the Terrible Trio. They find themselves on a beachhead position to see a beach house with a young couple and its pile of freshly cut firewood. With an element of foreshadowing the narrator continues with,

“That was her house. And nothing from that first day I saw her. And no one that has happened to me since been as frightening and confusing. For no person I have ever known has done more to make me feel more sure, more insecure, more important and less significant.”

The voice-over ends and the film transitions to the friends spending a typical summer day, horsing around and sharing moments of teen angst. In a vein similar to American Graffiti, the majority of the film centers around the relationships between Oscy and the narrator, Hermie. They meet girls, go on a double date to a Bette Davis flick, and spend a coming-of-age moment with their dates on the beach at night. Through it all, Hermie has his eyes on Dorothy (Jennifer O’Neill), the attractive wife of a naval officer called to duty in World War II. Hermie befriends Dorothy helping her with carrying groceries and putting boxes into the attic.

When Dorothy receives news, her husband has perished everything changes and nothing will ever be the same. Dorothy departs for her home leaving a note for Hermie on the door of her beach house wishing Hermie well and to be kept safe from any senseless tragedy. The film concludes with a wistful voice-over narration from Hermie on the porch of Dorothy’s now vacant beach house,

“I was never the see her again. Nor was I ever to learn what became of her. We were different then. Kids were different. It took us longer to understand the things we felt. Life is made up of comings and goings….and in the Summer of ’42…, in a very special way, I lost Hermie forever.”

I first saw the ‘Summer of ’42 when I was the same age as the Terrible Trio. The film had a profound impact on me despite not knowing any of the devices the filmmaker uses to elicit such a response. The musical score by Andre Hossein and Michael Legrand mixes highs and lows while changing pace with subtlety. The mise-en-scen, especially the cinematography, is done with an artful touch full of revelation at the beginning and ending of the narrative. In addition, Gary Grimes’ acting is excellent as he seems to convey the utmost emotionality at the precise moment needed. And O’Neill’s presence onscreen is captivating. Also, Houser more than holds his own as Oscy.

Produced and distributed by Warner Brothers, the film came in with a runtime of one hour and forty-four minutes. The pacing is good. Very few dull moments. Pay close attention to the music and cinematography, especially at the beginning and end of Summer of ’42. You’ll be glad you did! Highly recommended.

Reviewed by Larry Gleeson during the annual TCM 31 Days of Oscar

North by Northwest, is considered by many to be one of cinema’s greatest films. Director Alfred Hitchcock, a master of suspense, is at the peak of his powers as a director, having been making films in the United States for two decades. In addition, the film’s musical conductor, Bernard Hermann, is at the peak of his powers as a conductor. The result are great, veteran actors, Cary Grant (Caplan, Eva Marie Saint (On the Waterfront), and James Mason (Lolita), who know their cues, and informative non-diegetic, music creating arguably Hitchcock’s best cinematic suspense. Hitchcock and Herman had worked on five films together. This was their sixth and final film working together.

In a typical Hitchcock fashion with cheeky humor, romance, and popular monumental locations – this one is Mount Rushmore – North by Northwest checks all the boxes. And, as most Hitchcock films involve a mystery, chase or revelation, so does this one. Moreover, the audience is treated to espionage. Roger Thornhill (Grant) is a Madison Avenue Ad Man (Mad Men), who is kidnapped, due to mistaken identity, forced to drink a copious amount of bourbon whiskey, by spy Phillip Vandamm (James Mason)  and gets put behind the wheel of a convertible at nighttime on a roadway as narrow and treacherous as Pacific Coastal Highway through Big Sur. Eventually, Thornhill winds up in a police station after some dramatic driving and several close calls. He calls his mother, Clara Thornhill (Jesse Royce Landis), highly intoxicated, and has to tell his mother he has not been drinking when she asks. A courtroom appearance for the drunk driving charge has its moments and sharp quips.

But the film heats up energetically when, on a moving train, Eva Kendal (Eva Marie Saint) appears to save Thornhill from capture due to murder at the United Nations. In beautifully orchestrated intimate moments Kendall and Thornhill hit it off over dinner before retiring to her compartment. Seemingly, Thornhill is smitten while Kendall seductively encourages him. The two eventually part ways as Kendall gives Thornhill an address to meet the mysterious Caplan, the man Thornhill was mistaken for in the beginning of the film. Thornhill takes the bait and one of the most recognizable scenes in cinema takes place. Afterwards, Thornhill realizes he’s been set up and confronts Kendall. Kendall begins to reveal her secret identity, all but outright admitting she’d been toying with Thornhill. She also reveals the man she works for, Vandamm, and what he does – he’s a spy. After a hilarious escapade at an auction, the film moves to the Mount Rushmore area in South Dakota.

While North by Northwest is a bit cheeky it is also very stylish and has an air of sophistication. The film was released in December, 1959. With the costuming – think of Mad Men – sharp-looking suits and dresses (Harry Kress), well-groomed characters, and stylish haircuts (Sydney Guilaroff) . As far as the cinematography and mise-en-scen are concerned. I imagine a high angle shot of Thornhill escaping his office building as Vandamm’s thugs are pursuing him, is the impetus for Roger Deakins high angle, rooftop setup in Fargo (1996). North by Northwest was produced by MGM and was the first film Hitchcock made with MGM. According to the American Film Institute’s film catalog details, Hitchcock suggested the murder at the United Nations and the Mount Rushmore scenes.

With the rapid pacing of the film going from one locale and one chase to another – seemingly the film only slows down to capture the chemistry and the intimacy between Grant and Marie Saint – the run time of two hours and sixteen minutes is not only fast, it flies by. I also enjoyed the opening of the film with credits rolling in unique typography juxtaposed against a dynamic green, line-infused background with a very interesting musical composition. And, as he’s known for often doing, Hitchcock has a cameo – one of my favorite discoveries in watching a Hitchcock film. I’m not giving it away. North by Northwest is a “must-see” film. Highest recommendation.

Written and reviewed by Larry Gleeson

Moulin Rouge (1952), directed by John Huston (The Treasure of the Sierra Madre, Chinatown), stars Jose Ferrer, Zsa Zsa Gabor, Colette Marchand, and Susan Flo, and is based on the novel, “Moulin Rouge,” by Pierre La Mure. The film was nominated for six Oscars winning two, one for Best Art Direction-Set Decoration, Color (Paul Sheriff, Marcel Vertes), and one for Best Costume Design, Color (Marcel Vertes). Houston makes the artist Henri de Toulouse-Lautrec (Jose Ferrer), the central character in the fictional narrative. The casting is excellent. The musical score (Lambert Williamson) doesn’t miss a beat. The mise-en-scen is basically responsible for the film’s two Oscars.

The film opens with a text overlay introducing the theme of Moulin Rouge:

“His palette is caked, his brushes are dry, yet the genius of Henri de Toulouse-Lautrec is as fresh and alive as the day he laid them down. Here, for a brief moment, they shall be restored to his hands, and he and his beloved city and his time shall live again.”

Henri de Toulouse-Lautrec, born into an old, prominent aristocratic family was a Post-Impressionist (Van Gogh, Gauguin, Cézanne, and Serault) painter, caricaturist, print maker, draftsman, and artist. Toulouse-Lautrec broke his legs in adolescence. His legs stopped developing giving him a distorted appearance.

After suffering ridicule at the hands of a woman of equal social standing, Toulouse-Lautrec moved to the Montmarte, the center of bohemian life in Paris. During this time, he began imbibing in alcohol, frequenting brothels, cabarets and dance halls – many of the individuals he encountered became his subject matter.  In addition, Toulouse-Lautrec was an early pioneer of poster design, and became a fixture of Parisian nightlife, particularly at the Moulin Rouge, the most popular and scandalous entertainment venue. Many of the Moulin Rouge characters also became fodder for his art. Eventually, Toulouse-Lautrec developed alcoholism, and due to complications, died at the age of 36. His legacy was a collection of elegant, provocative work of bohemian 19th Century Parisian lifestyles.

Throughout film history several films have been made about the infamous Moulin Rouge. A French film was released in 1940, featuring the extraordinary American-born French singer, dancer and actress, Josephine Baker, as Princess Tam-tam.  In addition, a 1934 Pre-code, Hollywood musical comedy featured Constance Bennet and Francine Tone as well as a recently restored 1928 silent film with a synchronized soundtrack. The most latest was the somewhat bizarre 2001 musical, Moulin Rouge! by Baz Luhrmann, featuring Nicole Kidman.

Director John Huston was seemingly more interested in recreating Toulouse-Lautrec’s art works than the accuracy of Henri de Toulouse-Lautrec’s life with his Moulin Rouge titled film. Toulouse-Lautrec’ s art works are a visual smorgasbord and are on full display throughout. Huston also hired a color consultant. The resultant mise-en-scen is full of oranges, yellows, and pinks splattered across a blue-green backdrop (Shape of Water). With rarely a dull moment, Huston hit his mark as his Moulin Rouge is eye-catching with colorful costumes, colorful characters, and a compelling narrative. Huston even managed to create a happy ending element that brings a smile to a face. Highly recommended.

Written and reviewed by Larry Gleeson

Oscar-Worthy Lawyers. To Kill A Mockingbird, a black and white film, based on Harper Lee’s novel of the same title, tells the story of a Deep South attorney, Atticus Finch, who defends a black man accused of rape while teaching his children about the world’s racial prejudices. Gregory Peck embodies Atticus Finch in a credible way with mannerisms, costuming, voice, and intelligence. Finch has two children, a rambunctious, ten-year-old son, Jem (Phillip Alford) and the precocious six-year-old, tomboy, Scout (Mary Badham). The story is set in Depression-era, Maycomb, Alabama, 1932.

While the introductory credits are rolling, non-diegetic, a pair of young hands open a box in a directly overhead frame, a “god shot,” revealing the contents of a cigar box with items that the viewer will see throughout the film. The musical score by Elmer Bernstein competes with the young girls playful humming. The film opens with a descending crane shot revealing a dirt road with a man in the distance walking toward camera as a voice over narration begins, “Maycomb was a tired-old town even in 1932 when I first knew it…there was nowhere to go, nothing to buy and no money to buy it with, although Maycomb County had been told there was nothing to fear but fear itself. That summer I was six years old.”

To Kill A Mockingbird is told through Scout’s eyes presumably in 1962 when the film came out. Mulligan through the narrative voice over segues the viewer into the realities of 1932 in Maycomb, Georgia, with “lazy days,” childhood antics, and coming of age. The viewer is also introduced to Boo Radley (Robert Duvall), Miss Dubose are two colorful characters. Miss Dubose is a crotchety old dame who chides the Finch children for their manners. Boo Radley is an enigmatic figure in the neighborhood with numerous stories circulating about Boo’s behavior. Jem claims Boo is six and a half feet tall and is kept chained to a bed except at night when he’s let out. Furthermore, Jem tells Dill, a character inspired by Harper Lee’s childhood friend, Truman Capote (In Cold Blood), Boo eats squirrels and cats when he’s out at night and drools all the time with popped out eyes.

At the end of the first act, Atticus explains to how he was taught “to kill a mockingbird” was a sin. Atticus explained mockingbirds “just make music for us to enjoy…they sing their hearts out for us. “But when Atticus is selected to publicly defend Tom Robinson, a black man accused and convicted of raping a white woman despite his obvious innocence, the world changes. Leading up to the trial and after, racial prejudice runs rampant. After Mr. Robinson is shot and killed supposedly while trying to escape while he was being driven to prison. In poetic justice, an unlikely hero emerges in the form of Boo Radley at the film’s climactic moment.

The courtroom scenes during the Robinson trial are the film’s most dramatic and telling of the prejudicial injustice embedded within the trial by jury theory in Maycomb County. The presumption of the theory is twelve members of the jury not only come from the community but are also considered peers, and/or social equals – not the case in the trial of Tom Robinson.  To Kill A Mockingbird is considered a classic, and rightfully so, in my opinion. The film deals with racial prejudice in a very dramatic manner through the trial of Tom Robinson. Furthermore, the characters are compelling and colorful. While Atticus Finch may not have all the answers for his young children, they both seem to be on the path of righteousness. Highly recommended.