Unlike Stanley Kramer’s much-lauded Judgment at Nuremberg from 1961, which took a more fictional/composite direction, this film uses as many real figures as possible. Even so, there’s plenty of pendulum space for a courtroom drama of this subject matter to veer somewhere between respectful and exasperating. James Vanderbilt had a choice, and he, as an experienced and successful screenwriter known best for his gaudy action flicks, perked up Nuremberg with a little pump and pomp.
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