Assassinato em Primeiro Grau

This is one of my favorite movies;; and I have a not about this on my Electrifying performances by both Kevin Bacon and Slater.

Very few movies come across that are that gripping.Moves you up to your seat. And then there is always this tension and drama, anxiety about what's next to come.

The fact that this is based on a true life story makes it a more powerful saga. A saga that smells courage, conviction and commitment. How many movies like this exist. This movies falls under the ranks of Shaw Shank redemption.. Pappion, The Holocaust, Its a wonderful life.. et all..

really a bone of a movie. I have watched it so many times that each and every scene is tattooed on my brain. I can even close my eyes and see the trail unfold.

If you haven't watched it - you are not just missing an American Classic but also you are missing examples and stories to tell your kids - what happened once upon a west.. Cheers Olga Lednichenko

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".

This movie didn't do well, in fact drove a talented filmmaker away from directing.

Its because it has powerful characters and powerful actors that viewers snap to one of the six viewing modes they have and read it as a "character-driven" drama. Others were upset that the story deviates from real events rather drastically.

My own view is that this is one of the very few films we have that features a building as a character. This is a traditional trial form, where conflicting and synthesized realities are understood to exist by ordinary viewers. Usually this form is used to support battling stories, or versions of reality. Powerful characters can exist ("Mockingbird," "Few Good Men"), but they are there only as representatives of conflicting realities.

What makes this so interesting is that it is the building itself that is on trial. This is exploited by Rocco to an extraordinary extent. Fincher tried to take this notion to the next level in "Panic Room," but got fired. Too bad, because it is a cinematic thrill of sorts to see someone try to present a space as a character.

Sure, it is unusual and many viewers thought the man was going crazy with his odd camera angels, his swoops, his unusual blocking. But I ask you to watch this and see how the prison is introduced to us, and the supposed core, its antebellum dungeons. Then see the contrasting "open" space of the courtroom where it is to be tried. Slater's opening statement is an amazing exploration of space with one multi-encircling movement.

Ted's Evaluation -- 3 of 3: Worth watching.

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

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...