Du sang en première page

As a long time criminal/civil trial lawyer, I think most films/TV shows about trials are pretty bad. I thought this one was was good in that the trial procedures, in particular the direct and cross examinations of the witnesses, were highly realistic (as they are in the better known " Anatomy of a Murder"). Sanford Meisner's cross examination of Gig Young was very well done as was Franciosa's of Young's meddling mother. Hugh Griffith also did a good job as the judge. The police and prosecution were not portrayed in a very favorable light which was unusual during that era. I'm surprised that it's not out on DVD as yet. I caught it on FMC when that station was still running good movies. This film gives a far better picture of a trial than those in most TV shows which tend to show actors making speeches for the jury.

Excellent performances from all, and especially a rare performance from Sanford Meisner. Great direction and intensity from Clifford Odets. A rather simple story superbly told. Sanford Meisner's performance is especially outstanding and fresh as the prosecuting attorney on the scent.

An above-par courtroom drama, set in Los Angeles, elevated by director/screenwriter Clifford Odets' sharp script. He originally intended for this work to be a play. It was also elevated by an outstanding cast, with special kudos to Rita Hayworth's warm portrayal of a woman in an abusive marriage and by Sanford Meisner's forceful and expressive performance as the cross-examing prosecutor.

The bulk of the film takes place in the courtroom and since we immediately see the crime, we know that it was an accident and therefore the tension in the film comes about in finding out if the two lovebirds accused of murdering her husband will be given a death sentence, because the circumstances point to their guilt.

The beauty in the film is in the long-drawn-out courtroom dramatics.

The story itself wasn't too interesting, but the performances were energetic and the film had a good courtroom style, enough to make this chatty film well worth seeing.

A fine movie underplayed by all except Tony Francisco who took his part to am outstanding performance. Acting in his role to levels we rarely see him in.

The role by Hayworth was purposely underacted and she became a minor role in the movie but was quite effective.

What impressed me most was Young's character as a "Mommy's" boy who came to his own through the film.

I have always liked Young and this might have been his best dramatic movie of his career even though his part was minimalised through most of the movie.

& yes, he won fair maiden.

A full 7/10 and maybe an 8.

Watch and enjoy!!!!

p.s. It might not have been near as good in color. B&W was perfect.

Clifford Odets possibly only foray into courtroom drama is a most successful one as evidenced by The Story on Page One.

Anthony Franciosa, (many MST fans will remember him as being the star of the 80's ABC series The Finder of Lost Loves) stars at what first seems to be a similar character to Paul Newman's in The Verdict, a drunk, down on his luck, lawyer getting the case of his career that will either make or break him.

But Odets subverts our initial belief as the story actually focuses on the illicit love affair/murder, whose participants include the ever, great character actor Gig Young and Rita Hayworth, the Lady from Shanghai herself, only to deceptively lull the audience into the intimate details of the backstory, seeing how the bored wife could easily be enticed to look outside of her marriage for the love she sorely needs, and the emotionally scarred CPA who could provide that love.

At the 45 minute mark we get the whole sordid affair in triplicate and one wonders why Odets decided to relate the story in such in way but as the rest of the film plays out at the trial, we see he shrewdly grounded the defendants' sympathies in our hearts whereby every setback and revelation resonates as much for us as for the protagonists.

Coming out in the same year that the topical, yet ultimately sloppily made Anatomy of the Murder, The Story on Page One manages to trump the former just from sheer acting chutzpah and deliberate yet intelligent pacing.

Another facet I found fascinating was Odets use of natural, everyday faces to populate this meller. From the middle-aged insurance seller with his hearing aid, to Katherine Squire's craggy teeth, one sees this is a story that could possibly be culled from a newspaper, relating the plight of the ugly, common man and not some glamorpuss Hollywoodized actor playing him.