Director Wolfgang Staudte who left East Germany in 1953 to make movies in West Germany, takes a few swipes at the West German judicial system in this fairly effective courtroom drama about the murder of a four-month-old baby. Police almost immediately arrest the mother Ingrid who is the mistress of the father, a rich business VIP married to another woman. His position and wealth keep him insulated from suspicion. A hot-shot lawyer has to overcome the unaccountably biased perceptions of the police, the judge, the prosecutor and almost everyone else in the judicial system. The defence lawyer, driven to an extreme, knows he has to find the real killer or his client will be convicted.
Wolfgang Staudte
Director
Martin Held
Direktor Werner Rameil
Hanns Lothar
Rechtsanwalt Dr. Fox
Ellen Schwiers
Ingrid Bernhardy
Jürgen Goslar
Dr. Heinz Stephan
Adelheid Seeck
Gerda Rameil
Werner Hinz
Landgerichtsrat Ricker
Lore Hartling
Assessorin Ebeling
Siegfried Wischnewski
Kriminalinspektor Gerhuf
Harald Juhnke
Kriminalsekretär Wenzel
Otto Graf
Anwalt Dr. Beyer
Albert Bessler
Dr. Hollberg
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my readings will reveal, they could be interpreted as transgender stories.
Those perfect Summer or Fall days. The sun is shining, the temperature is JUST right, and you've got nothing else to do. Therefore, isn't it time to get outside and take a nice stroll through the park, or along the shoreline (should you be that fortunate), or even just around the neighborhood? Sure. BUT.....if one lives in the America found in the newest film adaptation of the work from horror author/cultural icon Stephen King.....doing this SHOULD be the LAST thing you hope to find yourself engaged with.
When a powerful church leader is found dead, Benoit Blanc enters a tight-knit community where everyone has secrets, but not everyone is fully developed.
Clearly, in the end, Allison raised a responsible child because she knew that her "friend" was doing something that made her uncomfortable and turned away from her. No worries, Super mom was already one step ahead of her.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.