L'ultimo degli indifesi

I consider myself well-educated but had never heard of this story until now. I had no idea that the right to have an attorney even if you cannot afford one was established so recently in 1963.

I had heard of the attorney Abe Fortas, but didn't know his role in this story. The name that should be more well-known is Clarence Gideon, the man to thank for pursuing his right to a court-appointed attorney.

The film simplifies the events that took place over more than two years, but it really holds your attention and shows the injustice of trials where the defendant could not afford an attorney and was often convicted without proper pursuit of the truth.

The historic value of this movie is awesome. Yes I recommend it. James Welch Henderson Arkansas 8/26/21.

Watching this flick I kept mulling over how many actors had played lawyers in other movies. Let's see. Lane Smith, of course, in "My Cousin Vinnie" (and "Nixon," I guess), John Houseman in "The Paper Trail," Dean Jagger in "Twelve O'Clock High," Jose Ferrer in "The Caine Mutiny" and "Blood and Orchids," and probably others that I've missed. I kept waiting for E. G. Marshall and John Williams to pop up. Henry Fonda, certainly, brought resonance to his role as well. He was the unjustly convicted Manny Balistrero in "The Wrong Man." And he, too, was a lawyer in "Young Mr. Lincoln."

This is pretty well done, both technically and thematically. It's an important story and is refreshingly free of stereotypes. The Florida court that convicts Fonda of burglary is a just one and operates under the law, as it then existed. And Fonda is no rabble rousing spokesman for the little man either. He's been in prison 5 times before, for crimes such as burglary and "possession of government property." (I'd like to hear more about that.) He's not doing this so that "all men will be free" or any of that bunkum. He's doing it because he's angry at having been denied a lawyer simply because he couldn't afford one.

As he labors over the law books in the prison library, he shows concern only over the fate of one other inmate, a black guy. This is one of those instances in which the story looks a little corny. Here, and where the writers give Clarence Earl Gideon the charisma of Cool Hand Luke with the other prisoners, an increasing number of them, following him back and forth to the mailbox and the warden's office and cheering loudly when the Supreme Court agrees to his request. (I don't believe they cheered for another man's success; I don't believe the writers ever met an inmate or saw the inside of a penitentiary.)

The production had a bit of a problem with the focus puller too. But, that aside, this is really pretty instructive. The Supreme Court evidently agreed to review his case not because they felt sorry for him but because they felt ready for a change in the existing rules about due process. Gideon was the right man in the right place. Luck had a lot to do with his success. Equally interesting is Fonda's performance. He was never a ham and was always minimally expressive. It works here because Gideon is played as a grouchy, angry, taciturn loner who minds his own business. A lesser script would have made him bombastic and articulate but this Gideon stumbles over words while reading aloud. The scene in which Fonda chokes up when he receives the news from Abe Fortas about the Court agreeing to review his case is as moving as it is because Fonda underplays it.

Dare I suggest that in this film, playing a skinny, tattooed, unfriendly convict, he does a better job than he did in his convict's role in Hitchcock's movie? Or even that this is one of his best performances, period? The photography and locations are pretty good too. The stale, almost empty courtroom during Fonda's trial, the silence and boredom of all involved, rather match the almost sensible heat of the Florida summer and the interiors baking under the sun.

Lane Smith, as Fonda's counselor in his retrial, is simply great -- sneaky and dark, almost villainous in the glee with which he attacks the prosecution's witnesses and frees Fonda. What a contrast to his performance as the affable prosecutor in "My Cousin Vinnie." Hallmark Productions are often soporific or -- let me say -- family oriented, but this one makes a few demands on a viewer, all for the good. Watch it if you have the chance. It doesn't seem to be on very often.

I wouldn't define this movie as being great. It was good, but not great. It was interesting though. I had to watch this for my criminal justice class, and I was riveted to it. I learned a lot about how our courts worked and how reforms in them were made so people who couldn't afford an attorney still had the right to have one. Based on a true story, Clarence Gideon was convicted of a crime he did not commit. But the movie centers around how he was deprived of his right to an attorney, and how he fought in prison to make clear that he did not have a fair trial. I thought it was well done, and Henry Fonda was very good in the role of Clarence Gideon. Only drawback, this should have been released in theaters. The camerawork of the courtroom and the long shots of Clarence Gideon confessing his history are great. The opening shot is the best scene of the film, which is seen in it's entireity later. Henry Fonda looks right into the camera, right at you, and as Clarence Gideon, he gives you his background. Ingenious. I wish there could be more movies with scenes as subtle and as profound as this. The other scene I liked was when Gideon is retried with an experienced lawyer, and when the first witness falsely claims Clarence Gideon is the culprit, the lawyer cuts him down with words and facts. This movie is good, but it's not a monumental achievement. I would highly recommend it to you though. It's got the qualities a good film should have: a good story and good acting. And lawyers or people involved in law alike will find it very interesting.

This movie is slow moving but fascinating. The scenes with the Supreme Court held my attention, as their deliberations are something we seldom see. Henry Fonda is a pleasure to watch, in his portrayal of Clarence Gideon who petitioned the Supreme Court to allow indigent defendants to have a court-appointed attorney. It was a landmark case which is too little known. Mr. Fonda manages to make his role sympathetic while remaining a touch irascible, uncommunicative, and focused on his self-appointed task.

This is a movie which should be seen by more Americans.