STORY STUDY - CRITERION WEEK - 600. “Anatomy of a Murder”

For this month’s Criterion Week, we’re going back into the courtroom also involving a murder trial.

Directed by Otto Preminger, written by Wendell Mayes, and based on the novel of the same name by John D. Voelker (under the pen name Robert Traver), Anatomy of a Murder is the story of a murder trial of a US Army Lieutenant who murdered his wife’s rapist. Even with this motivation, it will still be difficult for him to be cleared of the charge.

However, the Lieutenant claims he has no memory of the murder. Using this information, his lawyer believes he is eligible for a defense of irresistible impulse, a version of temporary insanity.

The defense struggles with the case when the prosecution calls on a high-powered prosecutor from the Attorney General’s office, essentially making the case a “two lawyers vs. one” battle.

The presentation of the film is nothing new when it comes to courtroom dramas: The defense defends his client, obstacles occur that make it difficult to clear his name, or in this case, prove that the defendant is not in the right state of mind when he committed a heinous crime. When a golden goose of a witness appears, they don’t cooperate for various reasons.

What makes the film stand out is the fact that the film is able to describe the case using more graphic terms. This is a film from 1959, and they are using the words “rape” and “lover”, pushing the limits of what can be acceptable to show on film during the time.

Also a standout to the film is the music, composed by Billy Strayhorn and the legendary jazz musician Duke Ellington, whose band orchestrates the music, and making an appearance in the film.

Anatomy of a Murder is a tense filled film with so many great acting and writing moments, catchy music, and a case morally ambiguous enough to wonder who would actually win the case.