Murder in the First

As Wayne would have it---"DENIED!!"

how this film escaped the attention of Oscar and Globe voters is one of the great Hollywood mysteries of our time...if Bacon ain't Oscar meat here, i don't know what is...an absolutely brilliant performance in the kind of role the voters usually jump all over at ballot time...ya really gotta wonder...

conspiracy theories aside, this is one helluva flick...besides our pal Kevin, there's outstanding work from Christian Slater, Gary Oldman, and everybody's favorite drill sergeant, Lee Ermey...Moe Greene's kid, Marc Rocco, gets a great period feeling economically...solid work by the wardrobe and make-up units...this film deserved a much better fate at the box office and at awards season in '96...if you haven't seen this one yet, you're missing a real gem...

Murder in the First is directed by Marc Rocco and written by Dan Gordon. It stars Kevin Bacon, Christian Slater, Gary Oldman, Embeth Davidtz, William H. Macy and R. Lee Ermey. Music is scored by Christopher Young and cinematography by Fred Murphy.

Slater stars as James Stamphill, an idealistic young attorney who is tasked with defending Alcatraz prisoner Henri Young (Bacon) who clearly murdered a fellow inmate. But what transpires is that Henri had just spent over three years in solitary confinement for attempting to escape the prison. It's evident, also, that Henri has been the subject of systematic violence perpetrated by sadistic Warden Milton Glenn (Oldman). Stamphill risks his career, and Henri's life, to put Alcatraz and the people in charge on trial.

Inspired by a true story, viewers should note that this is mostly a fictitious film. The truths are readily available on line so I will not waste space divulging the facts here. Suffice to say that Murder in the First is to be judged solely as a work of fiction. But what a film we get, a heart yanking, emotionally upsetting picture showcasing the evil that men do, filling out the narrative with alienation, cruelty, corruption and revenge driven murder. The dehumanising effects of prison abuse has never been so touchingly portrayed as it is here by Bacon, it's a haunting and vivid portrayal of a man pushed to the limits of sanity, a guy living in the dark recess of hell, struggling with every breath to come out into the light. An astonishing performance that once again in Bacon's career was ignored by his Academy peers.

Whilst high on emotional wallop, and some scenes really are tough to watch, the film falls shy of brilliance on account of standard fare for the courtroom sequences. Nothing bad but there's a dramatic thrust missing, and it's not Slater's fault, who is good at being sincere and humanist, the script doesn't provide enough thunder in the trial, in fact often it's too low key for its own good. We get a great snippet of what we are missing as Oldman (another great turn as a angry bastard) loses his cool, but more stomping, shouting and legal soul picking was needed.

Tech credits are very good. Rocco has a good sense of claustrophobic atmosphere, the scenes in the bowels of the prison perfectly portray Young's disorientation, the dank, dark and wet surroundings in keeping with the prisoner's state of mind. The director also favours an impressive roving camera technique that serves the story well. He also slots in a couple of noirish reflection scenes, one sees Glenn lose his cool while shaving and smash the mirror, the result is a distorted reflection, a showing of a fractured psyche. The other sees a prison visit between Stamphill and Young separated by a piece of glass, their respective reflections at first coming off as grotesque, but then slowly blending into one, a sign that maybe lawyer and prisoner will eventually sing from the same song sheet? It's a film that has found its way on to some neo-noir lists, visually and thematically as regards Bacon's character, that is fair enough.

Elsewhere. Murphy's photography is a key component to the tonal flow of the story, while Young's score is a real treat, criminally forgotten it relies on strings and choir for emotive means and succeeds exceptionally well. In support Macy and Davidtz do well with thinly written parts, but Ermey is a joy as the blunderbuss judge presiding over the trial. Nice to see Brad Dourif in the mix as well, even if we ultimately hanker for more of this great character actor. In a year that saw high end emotional drama released with Dead Man Walking and Leaving Las Vegas, Murder in the First sadly had some of its thunder stolen. Which coupled with the fact many refused to accept it fictionalising the Henri Young/Alcatraz story, saw it slip away until the World went internet crazy and it got rediscovered. It deserves to be found still some more, so seek it out film fans. 8/10

This is clearly Kevin Bacon's best performance. It's a shame he was not nominated for an academy award for his role. A truly emotional movie that ranks among the top Alcatraz movies made! Gary Oldman also puts in a very solid performance. Christian Slater plays a youthful, inexperienced attorney to perfection.

In showing another side of Alcatraz the movie breaks away from typical escaped based Alcatraz films. While "Escape from Alcatraz" may still be the top movie in this topic area, "Murder in the First" provides a new twist that involves a different type of drama. Kevin Bacon was surely jilted for not being nominated here!

I had not heard of his movie before. I caught it in mid-broadcast on cable, while channel surfing, eleven years after its release, and after the first few moments, decided to watch it to the end. It is now one of my favorites, right up there with "To Kill a Mockingbird." This film succeeds both as star turns and as an ensemble piece. But more importantly it succeeds in portraying American society in the 1930s as a whole, and involving the audience emotionally in both the the greater social issues as well as the smaller, more tender, personal issues. Despite its sensitivity, it is far from a chick flick. Despite it's theme of violence, it is far from a macho action flick. It is a courtroom thriller based on real events, and it is worth watching more than once.

The script writing and direction are calculated to be moving, and they succeed. Every actor in the film, every detail of the art direction, every camera angle plays on your heart and sense of moral indignation. To do so successfully, as I think this movie does, is the definition and purpose of art.

Kevin Bacon shows the most range in his film that I have ever seen from him. His physical performance was very demanding, his character work even finer. His chemistry with each actor in every scene is both bold and subtle, raw and complex. He reminds me of DeNiro's performance in the "Cape Fear" remake.

Christian Slater's character provides the viewer's point of view in the film, and he plays with great emotion and passion, and yet with a touch of reserve and detachment. I am strongly reminded of Kevin Costner's performance in "The Untouchables." Needless to say, Gary Oldman is a master at his craft, and always amazing to watch. Every character Oldman plays is memorable, and the antithesis of type-casting. His portrayal of the warden in this film is a brilliant balance of a socially acceptable monster.

This movie has received a lot of criticism for portraying historical facts inaccurately, and for taking sides in a political debate. I would remind the open-minded viewer that "To Kill A Mockingbird" also took great liberties with the facts of the historic court case on which it was based (there were six accused rapists, not one; the person on whom Atticus Finch was based was in reality the judge and not the defense attorney, etc.) and emphatically took sides in the even more hotly contested political debate over racial discrimination in America. Both films were based on real life, but neither claimed to be a documentary. Whether you resent historical tampering and political statements for dramatic impact is something only you can decide for yourself. Personally, I support both "To Kill A Mockingbird" and "Murder in the First" as films whose merits outweigh their flaws.

In short, this movie is worthy of your time, and will reward you, whether you want entertainment thrills, a good popcorn movie, a morally inspiring story or the appreciation of a well-crafted piece of work. It falls a little short of "The Shawshank Redemption," but not far. Despite what this or any other review says, start this movie without any preconceived notions, and just go along for the ride. I think you will be surprised, happy and satisfied.

Having caught up again with this film on t.v., I can only support all other commentators who have observed how utterly ridiculous is the American Academy Award system for not having even nominated the utterly brilliant performance by Kevin Bacon in this film for the best actor award, let alone in not giving him the damned thing! I am always impressed by whatever Kevin Bacon does, and am constantly surprised that he is one of those stars who always seems to creep under the public's radar of appreciation and awareness. As to the comments about the film not exactly being the "true" story of Henri Young, there again it always come down to the precise meaning and interpretation of a film's initial caveat of "inspired by a true story". Certainly, the film will have me searching the internet for more of the "true" facts of this harrowing story. And whether exactly the film was totally "true" or not, as any visitor to Alcatraz (as I have been myself) can tell you, just imagine yourself in any part of that prison in its heyday and say whether any filmic representation needs to be totally 100% accurate to convey the horrendous nature of what it must have been like there. Returning to the antics of the members of the U.S. Academy Award, their failures over this Kevin Bacon performance remind me of the time they robbed Cate Blanchett for her out of this world outstanding performance in "Elizabeth" in favour of that whimpering blonde piece of fluffy air Gwyneth Paltrow for the paltry "Shakespeare in Love".