Der Zwang zum Bösen

Watching this 1959 Richard Fleischer confirmed something I've always known. Dean Stockwell is a superb actor and an extraordinary presence on the screen. So, I think it's strange that he's not regarded as one of the greatest actors that ever lived. He started as a kid. He was Gregory Peck's son, twice. He was in musicals with Gene Kelly and Frank Sinatra. He was directed by Elia Kazan. He made allegorical movies like "The Boy With Green Hair" directed by black listed Joseph Losey. He was Edmond in "Long Day's Journey Into Night" sharing the screen with Katharine Hepburn, Ralph Richardson and Jason Robards. No to mention his work in "Sons and Lovers" or the movies with Wim Wenders and David Lynch. Here, in "Compulsion" his performance is worthy of an Oscar and in fact he go the accolades at the Cannes Film Festival sharing the acting honors with Orson Welles and Bradford Dillman. But, looking at it now he is the one that comes out as the one who passed in triumph the test of time. His performance is so rich so perfectly modulated that you go straight into the human center of his sick, appalling character. "Compulsion" deserves to be rediscovered and Dean Stockwell's performance should be the main reason.

If "Compulsion" is still such a powerful film is, totally, Dean Stockwell's merit. What a sensational actor! I'm writing this the day after the announcement of Dennis Hopper's death and while I was looking for a Dennis Hopper movie to watch a came across "Compulsion" Not Hopper but Stockwell and I settled for that anyway. I was riveted by Stockwell's performance because everyone else (with the natural exception of Orson Wells and E G Marshall) seems so dated and acted that Dean's every moment is sheer magic. He doesn't shy away from the awfulness but makes his young monster totally human, provoking in us that element that Orson Welles's closing argument tries to bring to the forefront. If you love great acting, you can't afford to miss Dean Stockwell in "Compulsion"

Seeing "Compulsion" again after a very long time, it amazed me how well I remembered it. In fact I remembered every tiny little turn in Dean Stockwell's eyes. He is superb in the part of the young semi genius with a weakness for the shallow Bradford Dillman. The Leopold and Loeb case was the base for this thrilling Richard Fleischer film. It won acting awards for Stockwell, Dillman and Orson Welles at the Cannes Film Festival but with the benefit of hindsight, Dean Stockwell emerges as the winner against the famous test of time. Dillman seems a little bit too everything. Welles is great fun to watch and E G Marshall is terrific as the man determined to unmask the "powder poofs". Stockwell fainting at the trial, something that could have been so over the top, is in fact, shattering. The Leopold and Loeb story was also the base for Hitchcock's "Rope" and the wonderful Tom Kalin's "Swoon" Another version was rumored in 1991, directed by Martin Donovan with River Phoenix in the Stockwell part.

"Compulsion" was one of the most important American films of the late 50s. Based loosely on the famous Leopold and Loeb case, the movie still packs quite an impact because of the excellent work by the three principals. As directed by Richard Fleischer, this is a disturbing look at two criminal minds who thought they were above and beyond the law because they had the perfect crime planned. The film was greatly adapted for the screen by Richard Murphy from the Meyer Levin book and stage play.

Even for those clever enough to carry on a murder, there is always a possibility that a minor mistake will give the culprit away. The two young men at the center of the story, Judd Steiner and Artie Straus are homosexual lovers. At the time, being gay in America must have been one of the worst things in a more puritanical and pious society. These two men hide their sexual preference well because of the circles they both move. Coming from upper class families, in a way, made it easier for these men to formulate a plan to satisfy their idle existences.

After committing a heinous crime, just because they thought they could get away with it, the two friends begin experiencing the guilt associated with what they have done. Judd's reaction is different from Artie's. Where Judd tries to lay low, Artie tries to help the police in a bold move that will end up badly. Judd suddenly feels abandoned by Artie when he realizes Artie might be getting too close to the people investigating the murder.

As careful as these men had been, something that apparently seems innocent, ties them to the crime. The principal investigator, Sid Brooks, turns the men against one another by playing his cards right. This is the moment that Jonathan Wilk, the famous trial lawyer enters the picture. Unfortunately, even a star lawyer can't save people that have talked too much because they thought they were above the law.

Star lawyers have always been at the center of all famous trials throughout the history. In a way, it's ironic that only one man, the great Jonathan Wilk is the only person in court to defend Steiner and Straus. Had it been today, these two men would have had a battery of expensive lawyers making the case for them. The figure of Wilke is based on the real lawyer of the Leopold and Loeb case: Clarence Darrow, a man larger than life.

Dean Stockwell and Bradford Dillman made an invaluable contribution to the success of the film. Mr. Stockwell, a child actor that grew up in front of the camera, makes a compelling Judd Steiner. Mr. Stockwell gets under Steiner's skin because he seems to know what made this young man do what he did. Mr. Dillman was a relative new face to the movies, but his performance as Artie Straus has a profound effect on the viewer. Neither man makes a likable person, but maybe that was the message the author of the play wanted to leave the viewer with.

Orson Welles made a splendid appearance as the defense lawyer, Jonathan Wilk. Mr. Welles' physical presence dominates most of the court proceedings. In fact, is a tribute to his genius that he towers over everything around him whenever he is in front of the camera. E. G. Marshall has some good moments as Sid Brooks, the investigator who unearths the truth in this case. Ed Binns, Martin Milner, Robert Simon, Richard Anderson make contributions to the film. Diane Varsi, as the Ruth Evans is the only female that has an opportunity in the film.

The film moves at a quick pace and will, no doubt, satisfy those viewers seeking intelligent entertainment.

Leopold was paroled after years of being a model prisoner, planning all kinds of prison reforms, and when released did philanthropic work in Puerto Rico. Interesting that Meyer Levin, author of book on which this film is based said, this amazingly redeemed man just a few times gave Levin a chill as it became clear that this character of 'St. Leopold' was just another creation of a true psychopath. The mocking narcissistic smirk was still there under it all.