Nuremberg

Hidden inside this purported battle between surviving top Nazi Hermann Goering and American prosecutor Judge Robert Jackson is, I think, the adaptation the writer probably wanted to do - the story of psychologist G. M. Gilbert and his backstage verbal tusslings with men who either refused to acknowledge any guilt (Goering, Streicher) or conversely were overflowing with it (Frank, Speer).

When you see Alec Baldwin appear a second time in the credits, as Executive Producer, you feel that Nuremberg was probably conceived as a vanity project for him. Fortunately it is quite easy to let the early scenes of the Court's setup just wash over you, and of course Jill Hennessey is always easy on the eyes. Much of the first half of the first episode is more or less soap opera. Jackson has to persuade Judge Biddle to go to Nuremberg, then to relinquish the Presidency of the court to the British. The bantering relationship with his secretary (Hennessey) serves as a prelude to their becoming lovers during their time in Germany.

At this point Hermann Goering appears (the great Brian Cox on top form), totally dominating the trial, totally dominating this mini-series, and your attention is grasped and held. Cox almost wipes Baldwin off the screen. Unfortunately it's very hard not to gain a great deal of sympathy for Goering, particularly when he is with his family, or in the heart-to-heart chats with his G. I. prison guard, Tex. We see Goering as he undoubtedly saw himself, but in reality he wasn't like that at all. The Nuremberg trial and the general travails of imprisonment were an excellent opportunity for him to smarten himself up: prior to his arrest he had become a dissolute and overweight drug addict. Unfortunately no sign of this weakness of character was carried over into the script, leaving an impression of Goering as a noble, principled man - irrespective of whether you agreed with his principles.

Also very watchable was Matt Craven in the role of Gilbert the aforementioned psychologist, and Christopher Plummer as British prosecutor David Maxwell-Fyfe (although the real Maxwell-Fyfe was the younger prosecutor, not an elder mentor as depicted here). Particularly gratifying is the scene in which Maxwell-Fyfe tells Jackson that "your documentary approach is legally impeccable - but as drama it's absolutely stultifying" - which might stand as an apt description of Baldwin's part in this series.

A last little curiosity, and not to make any personal remarks about Herbert Knaup, but I did find it strange that they cast Knaup, a slightly odd-looking actor, to play Albert Speer, by fairly common consent the handsomest and most photogenic of all the Nazi leaders, particularly as Speer was portrayed here in a sympathetic light. Other than Knaup, many of the actors were very close in looks to their real-life counterparts, most notably Roc LaFortune as Rudolf Hess, almost a living double.

`Nuremburg' is a chilling and disturbing look at the Nuremberg trial of Nazi war criminals after WWII. The story is historically accurate and captures the political and psychological climate of the times. It also serves as a distressing reminder to a young generation that has not experienced war in its lifetime of the horrors of which humanity is capable.

The film examines a number of fascinating angles of the trial. Instead of just focusing on the trial itself (of which there is plenty), it also offers a look at the political rivalry and infighting of the victorious nations, and a number of character studies of the prisoners. The most prominently portrayed of these is Hermann Göring (Brain Cox), Reich Marshall of the Third Reich and a member of Hitler's inner circle. Göring is portrayed as a cunning and charismatic adversary, who almost succeeds at making a sham of the entire trial.

The haunting question that must pervade anyone's mind that ponders the atrocities that occurred in WWII Germany is verbalised in the film by Elsie Douglas (Jill Hennessey). She says, `How could civilised human beings ever do that to other civilised human beings?', to which Justice Jackson (Alec Baldwin) replies, "Maybe civilization is overrated." This film provides some insight into the motivation of the German leaders, examining the warped perspective of the perpetrators who attempt to rationalise the horrors they committed to themselves and to the court. They point to the German sense of duty and obedience that is ingrained into their culture. After all, they were only following orders. There is also the undercurrent of Hitler's ruthlessness in using the SS to eliminate all opposition. In a particularly lucid moment, Göring says that if you look up and down the cellblock all you see is `yes men' because all the `no men' are six feet underground. Göring also points out the hypocrisy of the criticism of German hatred of the Jews by a U.S. society that interred millions of Japanese citizens, and tolerates segregation and hate-crimes against blacks.

Certainly, this is no justification for the systematic annihilation of 10 million of their own citizens, and as the film progresses a number of the prisoners begin to express deep remorse for their actions. Still, it shows that these weren't a group of sociopathic monsters in the conventional sense. They were otherwise normal men who had accomplished the inconceivable by dehumanising their victims to the point where the horrors they committed every day were no more disturbing to them than hunting deer to trim the herd. This is the most frightening thought of all, because it portends the possibility that such unthinkable acts could happen again. As long as we are able to believe that these men were a gaggle of homicidal maniacs, a freak societal aberration, we can reassure ourselves that this couldn't ever recur. However, when it dawns on us that normal people are able to rationalize such behaviour, we realise that under the right circumstances the potential for such inhumanity always exists. Complacency is an inadvertent ally of oppression, and this film should shock even the most casual viewer out of it. In this regard, it is instructive and enlightening.

The direction by Yves Simoneau is excellent and rises well above his mostly TV credits. The mood of the period is realistically rendered with a great deal of period accuracy. The costumes and period props are excellent with an eye for detail. He does an outstanding job creating background reaction shots, especially among the prisoners, that show their sarcastic disdain for their captors and display their smug superiority. He brings great power to numerous scenes using various camera angles. The holocaust footage used is some of the most disconcerting and inclusive I have ever seen. If there is any criticism to be leveled against the crafting of this film, it is that it delved too deeply into minutia, especially the sexual undercurrents between Jackson and Elsie Douglas. However, given the fact that it was produced as a TNT miniseries, the director was forced to fluff it up for the additional runtime.

The acting is also outstanding. Alec Baldwin gives a solid performance as Robert Jackson, a man obsessed with justice. Baldwin has never been known for his passion, but he elevates his game in certain parts of this film. Jill Hennessey is also excellent as Elsie, rendering her as a tough and smart woman who is a guiding force in the entire proceeding. However, by far the best performance is delivered by Brain Cox as Göring. His is a brilliant and complex performance that brings the reprehensible and magnetic Nazi leader to life in a way that is both attractive and loathsome. Colm Feore also gives a spine tingling performance as Rudolf Höss, the Commandant of Auschwitz concentration camp, who cavalierly discusses the efficiency techniques of eliminating prisoners, with the cold precision of an industrial engineer.

This terrific drama rises far above its TV roots. I rated it a 9/10. It is important viewing which reminds us that we cannot become complacent about tyranny, and we must be ever vigilant to guard against its recurrence.

Quite a few reviewers seem to be taken by the historicity of this movie. It's true that many of the details are correct - but it is also true that many others are wildly incorrect. The most egregious one is the romantic liaison between Justice Jackson and his assistant. I guess that the producers introduced the romantic element for the sake of a wider appeal, but the fact is that, in light of the actual events, this looks ridiculous. Which is a shame, for the movie would have been far more valuable without that silliness. It's mostly because of this that I don't think that it deserves more than 5 points. The bright sides are Brian Cox's and Michael Ironside's performances, and also, but to a lesser extent, Christopher Plummer's and Matt Craven's. Alec Baldwin delivers the same kind of underwhelming performance that he usually does, and Jill Hennessy does whatever she can with her inane and fictitious part.

In summary, it could have been a good movie, but it is just a decent one.

My first impression of this film was that it was excellently done. It provoked my curiosity and I am glad to say the film held up under my further investigation of the trials.

The accurate representation of the grayness of a subject most would consider black and white was particularly courageous. It would be easy to paint the Nazis as monsters without souls, but so often terrible things are done by perfectly ordinary people. In fact that is what is so terrible about people's actions in WWII. Malevolence would certainly be easier to accept than what this film shows was at the source of the Nazi behavior -- indifference and lack of empathy. Who hasn't felt indifference toward someone they met in everyday life, the cashier who was too slow, the person in the car ahead, the telemarketer?

The acting was excellent, particularly Brian Cox, who showed us how well charm can mask evil. I did not think Goering was white-washed. This was shown most clearly in his pathetic attempt to shrug off the concentration camp film. Even his manipulative skill couldn't ease that shock, and his American friend was silent. If Alex Baldwin pumped up his drama a little, well, take a look at transcripts of the trial, which are drier than the Sahara. The use of documents was extensive during the trial and how often does the layperson want to hear that? The use of the concentration camp film was a cold dash of water in the face of such dryness. Some other comments question the inclusion of the relationship between Jackson and his secretary. I didn't see it as a "love story", but more as an "adultery story" used to show on a more personal level that despite his side's claim to superior "morals" Jackson was also weak. I think the Soviet involvement and the Polish massacre was left out because it would have been too long to include in all its convolutions. It is an interesting part of the story, however, so I recommend researching it.

I was glad to see on the comments that those who know more than I pointed out its accuracy. Too rarely does Hollywood actually attempt that.

I have read a few books on the Nuremberg trials, as well as books on The Third Reich in general. Though the portrayals of the defendants were fairly accurate, they were not given the appropriate amount of air-time.I mean, without the defendants, there wouldn't have been a trial. Here's the top 10 things that should have been added (and especially subtracted from the movie.)

10) Should have emphasized the alliances between the defendants. Speer wasn't the only one to stand up to Goering. Von Schirach, Funk, and Fritzsche were all against Goering.

9) Give Defendent #2 Rudolf Hess more that four words.

8) Clarifiy why Hess goes crazy at the end.

7) Make sure the audience knows that Speer's penitence could be him saving his hide.

6) Emphasize that Franks conversion was due to him finding God.

5) Talk about the defendants personal lives, try to explain why they would commit these atrocities.

4) Tell what happened to the defendants who were acquitted or had their sentences carried out at Spandau.

3) They should of had the story include Von Schirach and Von Neurath, the youngest and the oldest defendants, so they would have more of a age perspective to the story.

2)All of the Defendants positions should have been named at least once.

1) The Jackson/Secretary affair probably took at'least a half an hour out of the mini-series, Which could have been dedicated to, I don't know, making sure the audience at least knows the defendant's's names. Besides, I don't now one person who saw that movie who actually liked the couple.