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After over forty years this remains a truly grand film, and the secret is not hard to locate: Spencer Tracy and Fredric March. These two vast actors, both come the raze of their respective careers (both would invent other films, but it would be the last mountainous performance in March’s career and one of the last in Tracy’s, though he did go on to excel in both JUDGMENT AT NUREMBERG and GUESS WHO’S COMING TO DINNER) . Retract them from the film, and there wouldn’t be a whole lot left. Luckily, they are in it, and between them they manage to chew up scene after scene as they show movie acting at its very finest.

The record, of course, is loosely (though not too loosely) based on the Scopes trial, where Clarence Darrow defended John Scopes from charges of having taught the theory of evolution in a public school. William Jennings Bryan, old US senator, secretary of set, and three-time presidential candidate, argued the case for the prosecution. Although the real-life trial was covered by a expansive press corps, the movie focuses on only one reporter, the fictional E. K. Hornbeck, who is loosely based on H. L. Mencken and played somewhat against type by Gene Kelly (sadly, it would also be Kelly’s last major role; unlike his friend and rival Fred Astaire, his career was slice short partly by the demise of the musical and partly by injuries that made dancing harder for him as he frail, but also unlike Astaire he was unable to derive quality acting roles as he weak) .

The film is also served well by an capable supporting cast. Harry Morgan, later familiar from M*A*S*H, capably plays the reflect in the trial. Dick York, later the first Darren in BEWITCHED (interestingly, a TV exhibit based on I MARRIED A WITCH, in which Fredric March played the “Darren” equivalent) is a familiar face. Claude Akens, who guest starred in literally hundreds of television shows from the 1950s through the 1980s, got one of the larger roles of his career as Rev. Jeremiah Brown, like Kelly against type since he usually played cowboys, criminals, or police officers.

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I have often had mixed feelings about director Stanley Kramer. While I like several of his movies–especially ON THE BEACH, THE DEFIANT ONES, and this one–I always win the impression that I like them despite his direction. His films always seem to drift in the action, seem to lack focus, and have a unpleasant stir. The overall structure of his films seems to be old-fashioned. On the other hand, he seems to have been an actor’s director, and many of his films feature strong performances. This is all to say that this is not a well-directed film, and without the two stellar leading actors, it might not have been noteworthy to recognize. As it is, however, it remains a riveting film, and even if there isn’t a gargantuan deal beyond the two leading performances, that alone is sufficient to compose this a must-see film.

There are many reasons to search for this movie, one of the distinguished films of the past 50 years. But the considerable motivation is to gape the greatest hide actor of all, Spencer Tracy, negate a performance for the ages. Examine this master emote with movement, assert and nuance. He steals the characterize (as he usually does), but there is another quick-witted performance as well. This is delivered expertly by the underrated Fredric March, in one of the meatiest roles ever handed to an actor. March is at turns witty, cunning, over-the-top, hammy or contrite, depending upon the demands of the scene. His scenes on the observe stand with Tracy are among the best written and beautifully acted pieces in movie history. It’s impossible not to be on the edge of your seat as Tracy quizzes March about various passages from the Bible.

I won’t bother with the details of the place, which is well known to most movie fans. Don’t quiz right or truthful history, and gain that Kramer’s direction is sometimes petite and even claustrophobic. Contemplate this film because there has never been such an array of animated performances as were delivered by Tracy and March. An astonishing note of acting talent.
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