Réalisation:
Gregory HoblitPhotographie:
Michael ChapmanMusique:
James Newton HowardActeurs·trices:
Richard Gere, Laura Linney, John Mahoney, Alfre Woodard, Frances McDormand, Edward Norton, Terry O'Quinn, Andre Braugher, Steven Bauer, Joe Spano (plus)VOD (4)
Résumés(1)
Martin Vail, avocat médiatique et cynique, décide d’assurer la défense d’Aaron Stampler, un jeune provincial timide et bègue, accusé d’avoir sauvagement assassiné l’archevêque de Chicago, qui l’avait pris sous son aile. Martin est convaincu de l’innocence de l’enfant de chœur, jusqu’à ce qu’il découvre, en menant sa propre enquête, les pratiques immorales de l’ecclésiastique, dont Aaron était la victime. Deux heures durant, ce thriller psychologique tient en haleine grâce à son scénario retors et sa mise en scène efficace. À l’instar de l’orgueilleux Martin Vail, instrumentalisé alors qu’il se pense maître de la situation, le spectateur est manipulé de bout en bout, jusqu’au twist final, mémorable. Face à Richard Gere, remarquable de sobriété, Edward Norton retranscrit toute l’ambivalence de son personnage par sa capacité à changer de visage en un rien de temps. (Arte)
(plus)Vidéo (1)
Critiques (11)
Percutant. Étonnamment brutal dans certains détails pour un thriller grand public. Un film qui assure à tous les niveaux et dans lequel on découvre Edward Norton à ses débuts, lequel parvient, du haut de son rôle secondaire, à faire de l’ombre à la star établie qu’était à l’époque Richard Gere. Et cet état de fait correspond parfaitement au ton du film. Chapeau !
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Although quite uninteresting thematically, in the end it is a solidly directed one-off from typical 1990s production. That is, during a time when Richard Gere was still a sensation and elegant, not playing tormented policemen or morally conflicted middle-aged men. Moreover, it is perhaps the first time that Edward Norton also appears on the big screen, playing his part phenomenally – though the entire screenplay, which relied primarily on his performance and role, was ultimately somewhat predictable. But this does not change the fact that the film is definitely worth seeing for those who enjoy lawyers and courtrooms, as there are several excellent scenes along those lines.
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Thanks to Edward Norton's fascinating performance, this is a solid spectacle that disappoints in all other aspects. Richard Gere's conversations about honor are pointless, as are the courtroom scenes, and Laura Linney will only mature into a charismatic and likable woman several years later. Fortunately, the finale picks up momentum and reaches the ending I expected and wanted. Without moralistic lectures, it is decent enough for a single viewing, but ultimately forgettable.
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If there is something perfect that deserves a five-star rating about this film, it is definitely Edward Norton's performance in the role of a man accused of murdering a celebrity. In his debut, he showed immense potential with his talent and both critics and film viewers were amazed by him. He has certainly rightfully ranked among the most significant names of his acting generation. I have no problem with Richard Gere in the lead male role either, who is, although two or three levels worse than Norton, still good enough, and above all, Gere was perfectly cast in a role that he masterfully controls, and he has experience in portraying these types of self-confident elegant characters. However, what bothers me is the screenplay. It's the typical Hollywood construction that tries to manipulate the viewer as much as possible and prepares a "shocking" twist at the very end. That is exactly what pleases many film fans on the other hand. It's not about the fact that the perpetrator plans 20 moves ahead because every top chess player does that. It's rather about the fact that the brilliant plan counts on the reaction of many involved parties, which cannot be accurately predicted in reality, and if their reactions were to deviate even slightly from the assumptions, the perpetrator would end up in the electric chair very quickly. Not to mention that according to my indirect knowledge, this is not how the American justice system truly works. Overall impression: 65%.
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I've found that courtroom thrillers are my kind of thing. This film is so well written, acted, intelligent, suspenseful, breathtaking in places, and with an amazing and unpredictable final twist, that I really can't fault anything. Richard Gere is brilliant, I've never liked him, but here I was a big fan, and Edward Norton, even as a youngster, so hats off to his talent. 90%
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Annonces