BLOODBROTHERS (1978)

Title: BLOODBROTHERS

Year of Release: 1978

Director: Robert Mulligan

Genre: Drama

Synopsis: A young man from an Italian-American family yearns to make his own mark on the world, but his biggest stumbling block may be his own father's expectations to follow him in the construction industry.

Within a film history context: Movies about Italian-American protagonists can be found from the silent era. One of the first was Reginald Barker's THE ITALIAN (1915). The life of an Italian man who comes to the United States for a better life, marrying the woman of his dreams, and the difficulties they encounter, were charted in this realistic production. With THE SLEEPING LION (1919), directed by Rupert Julian, an Italian-American man leaves New York City with his adopted son for the West, but romantic troubles plague him. George L. Cox's THE TIGER LILY (1919), differed from the previous two films as the main character was a woman.  In New York City, a charming young Italian-American working at her uncle's inn causes hearts to flutter, and becomes involved in many romantic scenarios in the process. Into the sound era came THE GUILTY GENERATION (1931), directed by Rowland Lee. The love affair of two young Italian-Americans whose gangster fathers were at war in New York City had a touch of romance along with crime. On the other hand, Howard Hawks' SCARFACE (1932) revolved around the rise, and precipitous fall of an Italian-American gangster, played by Paul Muni. One of the most famous of the early crime-themed movies, it was influential and remade in 1983, this time starring Al Pacino in the lead role. 

HUDDLE (1932), directed by Sam Wood, was entirely different in scope. The life of a young Italian-American man working in a steel mill, later attending Yale on a scholarship, and falling for a young woman, was slanted toward romance, something the other movies barely touched upon. James Cruze's RACETRACK (1933) followed a bookmaker, played by Leo Carrillo, who takes on the responsibility of raising a homeless young boy, but complications ensue when the boy's mother comes back into the picture. Another Leo Carrillo vehicle, THE WINNING TICKET (1935), directed by Charles Reisner, had the star as a barber who buys a lottery ticket, but hides it as his wife disapproves of gambling, with the ticket winning a major prize. The kicker is that the barber cannot find where he placed the ticket, but his baby son has more to do with this than he realizes. Edwin L. Marin's MAN OF THE PEOPLE (1937), had an attorney as its main character dealing with the Mafia in his profession. More earthy was FISHERMAN'S WHARF (1939), directed by Bernard Vorhaus. A fisherman, played by Leo Carrillo, and his young son live happily together, but things change when the fisherman's sister-in-law moves in with them, her young son in tow. Into the 1940s and 1950s, many varied depictions of Italian-Americans made their way to cinema screens.

Garson Kanin's THEY KNEW WHAT THEY WANTED (1940) had a wealthy farmer involved in a complex web of events, hoping to attract a young waitress by using the photo of another man as himself. CRY OF THE CITY (1948), directed by Robert Siodmak, was much darker in execution. An Italian-American police lieutenant is dogged by a fellow Italian-American criminal who causes him no end of grief. Criminality was also examined in Nicholas Ray's KNOCK ON ANY DOOR (1949). A young Italian-American man accused of murder is defended by an attorney, appealing to the court in light of his turbulent life, but this makes no difference in the eyes of the law. HOUSE OF STRANGERS (1949), directed by Joseph Mankiewicz, concentrated upon the family dynamics in an Italian-American family. It focused on the relationship between a father and his sons, specifically their reaction to their father being apprehended for dubious financial activities. Richard Thorpe's BLACK HAND (1950) was about an Italian-American man whose father was killed by the Black Hand extortion racket, and how he attempts to avenge his death, and bring the racket to justice. MARTY (1955), directed by Delbert Mann, was entirely contrary to this. The pathos-filled love story of a butcher and a teacher was a popular success in its time, earning star Ernest Borgnine an Oscar for best actor but also, winning for best picture and director. Daniel Mann's THE ROSE TATTOO (1955), as with THE TIGER LILY, was notable in that it sported a female Italian-American protagonist. The tale of a New Orleans seamstress and her messy family, and interpersonal relationships was another winner not only at the box office but also, for actress Anna Magnani in the lead. 

SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was a showcase for Paul Newman as real-life boxer Rocky Graziano, charting his life, and the many events he experienced. Richard Quine's FULL OF LIFE (1956) was in a much more comedic vein than the other movies with Italian-American characters. A couple expecting a child run into difficulties with a home repair, and reluctantly ask his father, a stonemason, to carry out the work, despite their tenuous father-son relationship. It was back to drama territory with THE MIDNIGHT STORY (1957), directed by Joseph Pevney. When an Italian-American priest is murdered, a policeman investigates this incident, and suspects a restauranteur of the crime. With Phil Karlson's THE BROTHERS RICO (1957), a trio of brothers is the focus, with one a former Mafia accountant who is drawn back to them on account of his two siblings. The fraught love affair of an Italian-American man and an Italian woman was the crux of WILD IS THE WIND (1957), directed by George Cukor. A widower travels to Italy to marry his late wife's sister, but his memories of the past cause many issues between them. Melville Shavelson's HOUSEBOAT (1958) was another movie with an Italian-American female protagonist. Sophia Loren spreads charm and joy to not only an American family living on a houseboat but also, the widowed father, played by Cary Grant. Entirely more sinister was AL CAPONE (1959), directed by Richard Wilson. Detailing the tumultuous life of the notorious Chicago criminal, it offered a meaty part to Rod Steiger in the lead. The 1960s, as with previous decades, also had differentiated views of Italian-American characters onscreen.

Richard Wilson's PAY OR DIE! (1960) was another crime-related film. The biographical account of New York City policeman Joseph Petrosino, and his efforts to stop organized crime in the early 1900s, it featured Ernest Borgnine in the main part. LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan, was about two Italian-Americans, one a department store assistant, the other a musician, documenting the ups and downs of their love affair. Gordon Douglas' TONY ROME (1967) had an Italian-American private investigator as its lead, enlisted by a millionaire to find his daughter's missing jewellery piece, and becoming enmeshed in intrigue. Full-blooded could be said to describe WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese. The character portrait of a young Italian-American man, and his issues of guilt and religion was a great showcase for not only the director but also, Harvey Keitel in the lead part. Into the 1970s, Cy Howard's LOVERS AND OTHER STRANGERS (1970) had an engaged couple as the main focus, with the groom Italian-American. The movie also includes the bridegroom's family as an essential part of the action, with humorous and touching results. One of the most famous ever of the films with Italian-American protagonists was THE GODFATHER (1972), directed by Francis Ford Coppola. The epic story of a Mafia family was awarded several Oscars, grossed a tremendous profit, and led to two sequels over the space of eighteen years. 

An uninhibited view of Italian-Americans was provided by Ralph Bakshi's HEAVY TRAFFIC (1973). The life of a young illustrator of both Italian, and Jewish parentage slayed many dragons in its wake, and was one of the most original films of the genre. MEAN STREETS (1973), directed by Martin Scorsese, once again had Harvey Keitel as an Italian-American, this time as a smooth thug who lies and cheats his way through life, falling into nothing but trouble along the way. Sidney Lumet's SERPICO (1973) was about a real-life New York police officer, and his attempts to block corruption in the police force, but finding his own colleagues turn against him. A more domestic take on Italian-American characters can be found in A WOMAN UNDER THE INFLUENCE (1974), directed by John Cassavetes. Examining a crumbling marriage, and the effect the wife's mental illness has on the union, it was a showcase for Gena Rowlands in the eponymous role. Real-life criminals were again on display in CRAZY JOE (1974), directed by Carlo Lizzani. New York arch-criminal Joe Gallo was spotlighted in this disappointing movie, with Peter Boyle convincing in the titular part. One of the most celebrated films with a central Italian-American character was John G. Avildsen's ROCKY (1976). The life of a boxer who rises to fame, it was a breakout movie for Sylvester Stallone, a massive box-office hit, and led to several sequels. SATURDAY NIGHT FEVER (1977), directed by John Badham, was another huge box office success. The story of a young man who finds his niche on the disco floor, despite the roughness of his personal life, made John Travolta a star, had a pulsating soundtrack, with a sequel in 1983. BLOODBROTHERS had many features in common with the films with Italian-American characters, but possessed many of its own individual traits.

BLOODBROTHERS was similar to those films which spotlighted Italian-Americans in difficult situations where the human spirit is challenged, such as THE ITALIAN, HUDDLE, and FISHERMAN'S WHARF. It also had the complex family interactions which characterized THE GUILTY GENERATION, HOUSE OF STRANGERS, THE ROSE TATTOO, and, to a lesser degree, LOVERS AND OTHER STRANGERS. BLOODBROTHERS clearly defines its characters, being who they are, what they want, and why they want it. The family in BLOODBROTHERS could be labelled as being dysfunctional to a large degree, but watching the action gradually unfold is one of the film's graces. In addition, the movie was also reminiscent of those pictures where a young Italian-American man wants to make it on his own, many times running up against opposition to his aspirations, such as in THE SLEEPING LION, HUDDLE, SOMEBODY UP THERE LIKES ME, WHO'S THAT KNOCKING AT MY DOOR, HEAVY TRAFFIC, and SATURDAY NIGHT FEVER. This is explored in one key manner in BLOODBROTHERS.

Stony's main opposition is his father, who wants him to be a construction worker, while Stony yearns to help children at the local hospital. In this way, BLOODBROTHERS' more benign central character conjured memories of the characters in the first two entries of the previous movies than the latter four. This is also where BLOODBROTHERS diverts away from the more heavy-going films. Stony in the picture is not only looking for romance but also, seeking to make his mark in the world as he wants, similar to HUDDLE's Tony in his persuasions. This is refreshing to witness as many of the films in the genre, while well-made, had a leaning toward Italian-Americans involved in crime, and dangerous situations. BLOODBROTHERS recognises that there are enough obstacles in life which can be examined in a film without the need for sometimes trumped up peril. This is also evident in the romance between Stony and Annette. There are no parents to keep them apart, or actions they have committed which could have a detrimental effect on them. Their own feelings, and view of the world are what both pulls them together, and drives them apart, which is interesting to watch. One of the most full-blooded of the movies about Italian-American characters, BLOODBROTHERS is a worthy entry in this film genre.

Overview: Robert Mulligan was the director of twenty motion pictures over thirty-three years, with many years spent in television. His movies are stories with a sympathetic edge, making audiences comprehend what makes characters tick in an intensive manner. After spending several years working in television, Mr Mulligan made his directorial debut with FEAR STRIKES OUT (1957). The story of real-life baseball player Jimmy Piersall, it was notable for starring Anthony Perkins in his third movie role. After a few more years in television, Mr Mulligan made THE RAT RACE (1960). It was a comedy-drama with Tony Curtis and Debbie Reynolds of a musician who arrives in New York, and falls for a dancer. TO KILL A MOCKINGBIRD (1962) was one of Robert Mulligan's most warmly-remembered movies. The story of a Southern lawyer defending a black man accused of rape, it boasted a fine performance by Gregory Peck as lawyer Atticus Finch. In a similar but more dramatic vein was one of his most famous pictures, LOVE WITH THE PROPER STRANGER (1963). Natalie Wood and Steve McQueen were, respectively, a department store assistant and a musician, with Miss Wood falling pregnant to Mr Queen's character. More great films followed in the years after for Mr Mulligan. BABY THE RAIN MUST FALL (1965) was a melodrama about a footloose man just out of jail, and trying to make it up to his wife and young daughter. Fine work from both Lee Remick, and Steve McQueen as the lead actors, it was a memorable and moody piece of cinema, shot in stark black and white. 

Continuing with realistic stories and situations, 1967 marked the release of UP THE DOWN STAIRCASE. Featuring Sandy Dennis as a school teacher in a New York high school, it was hailed for its lead performance and its authenticity. Four years after this film, one of Mr Mulligan's most commercially successful movies was released, SUMMER OF '42 (1971). The sensitive recollections of a young man who falls in love with a married woman in the early 1940s, it is remembered for its performances, and the evocation of a time and place which Mr Mulligan delicately conveyed on screen. Another distinctive film in his collection was SAME TIME, NEXT YEAR (1978). Taking CLOSE ENCOUNTER to a different level, it was about a married man and a married woman who embark on an affair, and meet at the same time every year when they first began their liaison. An affecting observation of feelings and middle-aged angst, it provided great roles for Alan Alda, and Ellen Burstyn as the couple in question. Into the 1980s and beyond, Robert Mulligan made CLARA'S HEART (1988). The story of the touching relationship between a Jamaican woman, and a young boy from a family for which she is a housekeeper was Mr Mulligan's second last film, and a return to form for him. His final feature, THE MAN IN THE MOON (1991), was the story of a young woman in 1950s Louisiana, especially detailing her antics and family life. Well-received critically, the movie, unfortunately, was not a money-maker. BLOODBROTHERS was Robert Mulligan's sixteenth motion picture, and one of his most fluent works.

It had that same sympathy for its characters and their lives which many of his movies shared, ranging from TO KILL A MOCKINGBIRD, BABY THE RAIN MUST FALL, UP THE DOWN STAIRCASE, and SUMMER OF '42, to name but a few examples. Robert Mulligan allowed audiences privileged views of people in situations that could indeed have existed in real-life, and BLOODBROTHERS is no exception. His films are rooted in a realism and thoughtfulness that is not only poignant, but endearing to observe. While it could be said that BLOODBROTHERS is one of Mr Mulligan's flashier works, spotlighting an Italian-American family, laying bare their foibles for all to see, it is in keeping with his oeuvre. Despite being one of his movies which was one of the noisiest in terms of the characters and their way of expressing themselves, BLOODBROTHERS does have an adjacent softness about it, making one in turn feel for the characters. The characters at times do go over the top in how they act and feel, but this unrestricted range of emotions shows them both at their best but also, their worst. This makes them relatable, and, in turn, sympathetic. One of Robert Mulligan's most entertaining films, BLOODBROTHERS is a pleasure to watch.

Acting: BLOODBROTHERS has an illustrious cast who are all utilized to maximum effect in the movie. In the lead role of Stony De Coco, Richard Gere is excellent as a young man seeking to find his way in life, but coming up against many roadblocks. An actor of charm and nervy energy, here he is refreshing to witness as a normal young man without being portrayed as a male hyper-sex symbol, something upon which his later films capitalized. In this film, it relies more upon the actor's natural charisma, and subtle mannerisms which the director has spotlighted exceptionally well. As Stony's father, Tommy De Coco, powerhouse Tony Lo Bianco brings notes of anger, humor, and pathos to a difficult part, making Tommy an entertaining, but multi-dimensional figure. Tommy's brother Chubby De Coco is vividly brought to life by Paul Sorvino. His unflappable character and common sense prevail in the movie, especially acting as the mediator in the many conflicts always unravelling in the Do Coco family, making Chubby a lively, stalwart figure. 

Michael Hershewe, as Albert, Stony's brother, and Tommy's son, is nicely played by the young actor. Without saying much, using his body language to express his discomfort at his family situation, Mr Hershewe does a fine job. The chemistry between Richard Gere and Michael Hershewe is most keenly felt in the film, their age difference giving things another level of depth, with Stony not only a brother but also, a father figure to Albert. As Maria, Tommy's wife, and Stony and Albert's mother, Lelia Goldoni is utterly authentic as the put-upon De Coco family matriarch whose rollercoaster of emotions is one of the movie's most compelling aspects. Rounding out the fine cast is Marilu Henner as Annette, Stony's on-again, off-again girlfriend. In her first major movie role, Miss Henner does very well as the no-nonsense, composed Annette whose pragmatic nature draws the sometimes hot-headed Stony closer, giving him balance.

Soundtrack: Elmer Bernstein's bold instrumental score deftly encompasses the heated emotions of the characters in BLOODBROTHERS, and their take no prisoners attitude toward life.

Mise-en-scene: There are a number of interesting contributions to what is presented on screen in BLOODBROTHERS. Cinematography by Robert Surtees is beautifully composed, ensuring that the color is naturalistic, but with subtly lively tones, reflecting the characters and the film's overall realistic feel. Female costuming by Joanne Haas, likewise male costuming by Robert Harris Jr. complement each other well, appropriate to the characters and their socio-economic position and mindset. Set design by Lee Poll is another of the film's distinctive traits. Locations such as the De Coco family home, Annette's apartment, and the bar which Tommy and Chubby frequent, are all notable for appearing authentic, as if people actually live and use these settings.

Notable Acting Performances: Richard Gere, Tony Lo Bianco, Paul Sorvino, Michael Hershewe, Lelia Goldoni, Marilu Henner.

Suitability for young viewers: No. Frequent coarse language, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page

TO KILL A MOCKINGBIRD (1962)

Title: TO KILL A MOCKINGBIRD

Year of Release: 1962

Director: Robert Mulligan

Genre: Drama

Synopsis: A lawyer in 1930s Alabama takes on the case of a black man accused of raping a white woman.

Within a film history context: Movies which have a lawyer protagonist have been present in cinema for many years since the silent screen. One of the first documented films was Allan Dwan's THE COUNTY CHAIRMAN (1914). In this, a tug of war between two men occurs, one of them being a lawyer, with past incidents such as business and romantic rivalries rearing their head. More domestic in its outlook was ALWAYS IN THE WAY (1915). Starring Mary Miles Minter, it  was concerned with a young girl neglected by her father, a lawyer, who remarries after the death of his wife, the stepmother viewing the stepdaughter as an unnecessary obstacle. Frank Lloyd's A TALE OF TWO CITIES (1917) set in 1790s France, showed how a lawyer saved an aristocrat, who, incidentally, was married to his great love. In a similar vein to ALWAYS IN THE WAY, HOUSE OF CARDS (1917), directed by Alice Guy, revolved around a young protagonist. A young girl is feeling abandoned emotionally by her parents, her father being a lawyer, and runs away with a young man. Moralistic in nature was Harry Revier's THE GRAIN OF DUST (1918). Here an innocent young woman is loved by a young lawyer who schemes to get closer to her, but his machinations cause her torment. As with the 1910s, the 1920s silent era was also a time of varied depictions of lawyers in cinema.

CAUSE FOR DIVORCE (1923), directed by Hugh Dierker, was about romantic entanglements in a family. The daughter of a man, married to a lawyer, falls for a smooth man who is up to no good. Somewhat more comic in its intentions was Robert Leonard's CHEAPER TO MARRY (1925). This film focused on two lawyers in a firm, and how one partner tries to convince the other to stay away from his mistress so that he can have her instead. A darker view of lawyers could be found in SUPER SPEED (1925), directed by Albert Rogell. This time around, the lawyer is trying to take advantage of someone else's invention, but, the protagonist will not allow him to do so. Inventive in its naughtiness was E. Mason Hooper's GETTING GERTIE'S GARTER (1927). Again, the indiscretions of a lawyer's private life are in view, with a garter causing untold anguish for him, with comic results. Signs of the changing times were explored in DON'T MARRY (1928), a comedy helmed by James Tinling. In this film, a liberated flapper has her eye on a young lawyer, who has antiquated views of women, and disguises herself as another woman, with the intention of making him realize modern women are better than Victorian women. As evidenced by the above films, the majority were comic in nature, but still said much to audiences of the time.

The 1930s featured a plethora of lawyer-themed films. D.W. Griffith's ABRAHAM LINCOLN (1930), was a biographical account of the American president, statesman and lawyer. THE NAUGHTY FLIRT (1930), directed by Edward F. Cline, was a comedy of a young woman who has a thing for a handsome lawyer. More dramatic was Frank Lloyd's THE RIGHT OF WAY (1931). Starring Conrad Nagel as an uppity lawyer whose life takes an unexpected turn, suspected of something he did not do, events conspire for him to face his trespasses and correct these. A more sympathetic view of lawyers can be found in THREE WHO LOVED (1931), directed by George Archainbaud. In this film, a committed young man studying to be a lawyer finds himself in both romantic, and legal trouble. More domestic in inclination was Clarence Brown's A FREE SOUL (1931). With Norma Shearer in the lead role, it focused on a lawyer whose daughter falls for his gambler client. Matters were of an entirely different nature in DRIFTING SOULS (1932), directed by Louis King. Here, a female lawyer provided the drama, with a young woman seeking to fund her father's medical operation, and becoming involved with an assortment of shady characters. Things were more heated in Richard Thorpe's CROSS-EXAMINATION (1932), with H.B. Warner as an attorney seeking the truth about a boy charged with patricide. 1932's LAWYER MAN, directed by William Dieterle, followed the private life of a lawyer, his professional career, and romantic escapades. Marital infidelity was given a workout in William Wyler's COUNCELLOR AT LAW (1933), with John Barrymore as a lawyer cuckolded by wife Doris Kenyon. This is just a small sample of the many films with lawyers in the lead role in the 1930s, a decade which seemed to feature innumerable lawyer protagonists.

In the 1940s, many star vehicles, as in the other decades, were developed to showcase the lawyer theme for audiences. 1940's REMEMBER THE NIGHT, directed by Mitchell Leisen, starred Fred McMurray and Barbara Stanwyck in one of their teamings as a lawyer and his shoplifter client, and the love that develops between them. Nick Grinde's CONVICTED WOMAN (1940) had a female lawyer defending a woman against the charge of theft, with many unexpected twists and turns. TEXAS TERRORS (1940), directed by George Sherman, was slightly different from prior lawyer films. In this movie, which had a western theme, a lawyer seeks retaliation on the person who caused the death of his parents. Films about real-life lawyers appeared rarely on screen, with Frank Borzage's THE VANISHING VIRGINIAN (1942) the exception. This films followed the life of Robert Yancey, a Virginian district attorney, and was a change of pace for the genre. For A STRANGER IN TOWN (1943), directed by Roy Rowland, matters were of a different nature. With this film, an attorney battles corrupt people seeking to become mayor, but finding assistance from an unlikely source. D. Ross Lederman's DANGEROUS BUSINESS (1946) was a drama with comic asides. A male and a female lawyer create a partnership, and take on the case of a man who believes he has been framed for an act he did not commit. Things took a comical turn with CROSS MY HEART (1946), directed by John Berry. With Betty Hutton in the lead role, it was about a woman who tries to elevate her husband's business reputation with a lie - about a crime she had no part in. Alfred Hitchcock's more serious THE PARADINE CASE (1947) showed how a married lawyer falls for the woman he is defending, and the fallout in his marriage. One of the best examples of lawyer films arrived at the end of the decade. ADAM'S RIB (1949), directed by George Cukor, was a sprightly showcase for Spencer Tracy and Katharine Hepburn as married lawyers on opposite sides of the legal fence, displaying their rivalry in all arenas for the audience to understand. 

The 1950s began with a more serious portrayal of lawyers than in the 1940s, in keeping in line with post-war pessimism in cinema. Anthony Mann's SIDE STREET (1950) was about a young man who becomes involved with a untoward lawyer, leading to harmful repercussions for him. In a much more light-hearted vein, THE BIG HANGOVER (1950), directed by Norman Krasna, has a law graduate trying his best to conceal his weakness; a reaction to the smell of alcohol. An underhanded lawyer, something previous films had investigated, was the focus of Henry Levin's TWO OF A KIND (1951). In this production, a lawyer machinates with another man to lay stake to the fortune of a wealthy man. In an alternate vein, finding one's strength is the crux of THE PEOPLE AGAINST O'HARA (1951), helmed by John Sturges. With Spencer Tracy in the lead, it followed an attorney returning to the legal fold to defend his neighbour's son. More heart-stopping was Don Siegel's COUNT THE HOURS! (1953). Here a lawyer takes on the case of two married ranch workers accused of murder, but they are innocent of the crime. DOUBLE JEOPARDY (1955), directed by R.G. Springsteen, was more action-oriented in flavour, but still had its dramatic moments. In this instance, a lawyer defends his amour's father, who is accused of killing a man who was blackmailing him. One of the most famous films with a legal theme was Alfred Hitchcock's WITNESS FOR THE PROSECUTION (1957). A man accused of murder is defended by his British lawyer, with many of the typical comic, and dramatic touches that were symbolic of Mr Hitchcock's filmmaking style. One of the most profitable courtroom dramas was ANATOMY OF A MURDER (1959), directed by Otto Preminger. With James Stewart in the pivotal role of lawyer Paul Biegler, it was about his defense of a man accused of killing the man who raped his wife, but matters were not as simple as first thought in this film. TO KILL A MOCKINGBIRD, while concerned with a lawyer and both his business, and personal lives, had the intricate storylines of many of the above examples, but diverted from previous films in certain areas.

TO KILL A MOCKINGBIRD, based upon the novel of the same name by Harper Lee, is a film that intimately depicts the family life of its protagonist, lawyer Atticus Finch, and the effect that his occupation has on his children, particularly his daughter Scout. Never before had a film taken the time to establish the lawyer lead character in such detail, likewise for his children, and the supporting characters who populate the movie. The film is balanced in the spotlight it shines on the adult characters, but also, on the younger characters. It is as if the viewer knows the characters, and what they are going through, in a thorough manner. It is easy for the spectator to feel an affinity for, and closeness to, the characters because of this.

The movie was also notable for the number of elements and themes that it explores in an exhaustive fashion, such as family, loyalty, racism, ignorance, childhood games, and coming of age. It was equitable in this respect, with all of these ringing true, never being out of place. The film's piece de resistance, being the trial of a black man suspected of raping a white woman, is probably the most moving, incisive, tragic courtroom scene ever presented to audiences. Lacking the melodrama that can sometimes make courtroom scenes risible to viewers, it is as if a true event is unfolding in real time for the spectator, and this is largely emblematic of TO KILL A MOCKINGBIRD in its documentary-style approach.

Overview: Robert Mulligan was the director of twenty motion pictures over thirty-three years, with many years spent in television. His movies are stories with a sympathetic edge, making audiences comprehend what makes characters tick in an intensive manner. After spending several years working in television, Mr Mulligan made his directorial debut with FEAR STRIKES OUT (1957). The story of real-life baseball player Jimmy Piersall, it was notable for starring Anthony Perkins in his third movie role. After a few more years in television, Mr Mulligan made THE RAT RACE (1960). It was a comedy-drama with Tony Curtis and Debbie Reynolds as a musician who arrives in New York, and falls for a dancer. In a similar but more dramatic vein was one of his most famous pictures, LOVE WITH THE PROPER STRANGER (1963). Natalie Wood and Steve McQueen were, respectively, a department store assistant and a musician, with Miss Wood falling pregnant to Mr Queen's character. More great films followed in the years after for Mr Mulligan. BABY THE RAIN MUST FALL (1965) was a melodrama about a footloose man just out of jail, and trying to make it up to his wife and young daughter. Fine work from both Lee Remick and Steve McQueen as the lead actors, it was a memorable and moody piece of cinema, shot in stark black and white. 

Continuing with realistic stories and situations, 1967 marked the release of UP THE DOWN STAIRCASE. Featuring Sandy Dennis as a school teacher in a New York high school, it was hailed for its lead performance and its authenticity. Four years after this film, one of Mr Mulligan's most commercially successful movies was released, SUMMER OF '42 (1971). The sensitive recollections of a young man who falls in love with a married woman in the early 1940s, it is remembered for its performances, and the evocation of a time and place which Mr Mulligan delicately expressed on screen. Moving forward into the late 1970s, Mr Mulligan helmed BLOODBROTHERS (1978). A drama with Richard Gere as an Italian-American in the shadow of his older brother, attempting to carve his own niche in life, it was an actor's picture also starring Paul Sorvino and Tony Lo Bianco in major roles. Another distinctive film in his collection was SAME TIME, NEXT YEAR (1978). Taking CLOSE ENCOUNTER to a different level, it was about a married man and a married woman who embark on an affair, and meet at the same time every year when they first began their liaison. A touching observation of feelings and middle-aged angst, it provided great roles for Alan Alda and Ellen Burstyn as the couple in question. TO KILL A MOCKINGBIRD shared the sensibilities of Mr Mulligan's other films, whereby the viewer gains an intimate knowledge of the characters and their psychology, but added its own original touches.

It is the well-crafted story of lawyer Atticus Finch, and his young family in the Alabama of the 1930s, and how Atticus takes on the case of a black man accused of raping a white woman. Mr Mulligan takes his time with establishing the story and the characters who inhabit its world, making the viewer feel for them, and know them on a deep level. We understand what makes Atticus and his children tick, likewise for the peripheral characters who appear within the film's running time. While this works to a large degree, the first half of the movie is a little slow in retrospect, with some scenes taking too much screen time that could have been eliminated or shortened, tightening the film as a whole. Possibly this was done to make the first half more of a starting point for the characters and their situations, but it does hurt the film's impact slightly. This is the film's only downside, as the remainder of the elements are executed in an excellent manner.

The second part of the film, beginning with the court case, is where the pieces start to fall into place, and where it really finds its footing. It seems as if the first part was a warm up for the second half, but what a second half it is. The courtroom scene, working back and forth from lawyer to defendant, lawyer to witnesses, is breathtaking in its execution. The writing and acting meld together in such a cohesive, emotive manner in these sequences, that one forgets that they are watching a film, and it invites belief in the proceedings. Mr Mulligan is also to be credited for his balanced view of racial relations in the film. Both sides of the equation are presented to audiences to consider, without showing favour for one or the other in an impartial manner. The movie is one that elicits varied feelings in the spectator which would certainly lead to discussion of racial relations and identity. In looking at the film as a whole, though, and whatever its faults, it can be said that TO KILL A MOCKINGBIRD is a genuine and rewarding film experience that reflects well of its director, and his humanistic view of life.

Acting: The acting in TO KILL A MOCKINGBIRD is one of its strongest assets. In the lead role of Atticus Finch, Gregory Peck was in his finest hour in this film. A character of strength, determination, fearlessness, courage and empathy, Mr Peck is the glue that holds the film together, his presence assuring the film of its success. A handsome actor whose serious nature made him suitable for films with a deeper view of humanity, Mr Peck is in his element as Atticus. As his daughter Scout, Mary Badham was a revelation of a child actress. Going toe to toe with Mr Peck in all their scenes together, it is as if she was really his offspring, and they were also matched in terms of her being his conscience. Miss Badham is featured in some of the most moving scenes ever filmed by a child actress, so affecting is her acting that one forgets that she is acting; she is Scout. There are three other performers whose work in the film deserve recognition.

Brock Peters, as Tom Robinson, the man accused of rape by Mayella Ewell, provides some of the most soul-stirring work in TO KILL A MOCKINGBIRD. Seeing Mr Peters on the witness stand, cracking under the pressure of an intense trial, is something that would wring tears out of even the most hardened of viewers. Mr Peters, quite simply put, is brilliant in these sequences. Also excellent in the film is Collin Wilcox Paxton as Mayella Ewell, the young woman who put Tom Robinson in this predicament. Miss Paxton does well as the impulsive, unjust, confused young woman, the viewer able to read her feelings from her face and body language. The final acting part of note is James Anderson as Bon Ewell, Mayella's rough, racist father. Playing a character with such villainous intent can sometimes make a part one-note, but Mr Anderson makes the character understandable, even if he can be thoroughly repellent at times.

Soundtrack: Elmer Bernstein's excellent instrumental soundtrack adds a thoughtful, solemn touch to the movie. Used appropriately in all respects, and especially during the quieter segments, it heightens the suspense when necessary, but, on the other hand, creates a warm, inspirational aura.

Mise-en-scene: The locations and sets in TO KILL A MOCKINGBIRD are exceptional, painting a vivid picture of life in the 1930s South for viewers. The film's sense of milieu is peerless, positioning the characters in this with realistic backdrops that are authentic to the eye. It is as if this small town really could have existed in real life, with sets such as the Finch family home the standout. The courtroom is also notable, providing a clear view of the actors and the proceedings for the audience in these pivotal scenes. Also deserving unreserved praise is the film's photography. Russell Harlan's cinematography is just perfect, especially the scenes set during the evening, with shadows and darkness adding a haunting atmosphere to the action. This is one of many post-1960s films in which black and white works exceedingly well to capture past times, and highlight serious content, such as HUD (1963) and THE LAST PICTURE SHOW (1971).

Award-worthy performances in my opinion: Gregory Peck, Mary Badham, Brock Peters, Collin Wilcox Paxton, James Anderson.

Suitability for young viewers: Parental discretion advised. Adult themes, low-level violence.

Overall Grade: B

Link: IMDB Page

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