1957 in Film: Witness for the Prosecution

In a year of strong Best Picture contenders, there’s generally that one film (or occasionally several) that likely would have won, if it hadn’t been for an unstoppable front-runner. Think sublime films like L.A. Confidential, Lost in Translation, and There Will Be Blood, which had no hope against eventual winners Titanic, The Lord of the Rings: Return of the King, and No Country for Old Men respectively.

Back in 1957, that indomitable force was A Bridge on the River Kwai, which swept the ceremony with seven wins including Best Picture, leaving two sublime legal dramas to walk away empty-handed and ponder what might have been. With an impressive ensemble cast, a twist-filled narrative, and one of the industry’s most celebrated directors at its helm, Billy Wilder‘s Witness for the Prosecution could have been a film the Academy ate up, if they weren’t so rightly enamoured with David Lean’s epic war masterpiece.

It’s a film in Wilder’s impressive filmography that’s often overlooked. Which is entirely understandable, considering the masterful work the writer/director crafted in the 1940s, 50s and 60s, including two Best Picture winners. But Witness for the Prosecution deserves more kudos than it seems to receive. Standing as one of the finest and entertaining courtroom thrillers cinema has ever produced.

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Based on the play of the same name by Agatha Christie, Witness for the Prosecution begins with noted barrister Sir Wilfrid Robarts (a terrific Charles Laughton) returning to work after a near-fatal heart attack. Despite the strong objections of his beleaguered personal nurse Miss Plimsoll (Elsa Lanchester), Sir Wilfrid takes on Leonard Vole (Tyrone Power) as a new client. Leonard is accused of murdering Emily French (Norma Varden), a wealthy, older widow who became so infatuated with her young companion, she made Leonard the sole benefactor of her bountiful will.

With damning circumstantial evidence piling up, Leonard’s only hope is an alibi provided by his German wife Christine (Marlene Dietrich, never better). But after Sir Wilfrid interviews Christine, he’s not entirely convinced she’s the doting wife she claims to be. As the trial begins, secrets will be unfurled, leading to a conclusion that will take your breath away.

Much like the infamous marketing campaign for Alfred Hitchcock’s Psycho, which begged viewers not to spoil its “shocking secrets,” Witness for the Prosecution concludes with the message, “The management of this theatre suggests that, for the greater entertainment of your friends who have not yet seen the picture, you will not divulge to anyone the secret of the ending of Witness for the Prosecution.” This gives you an indication of its shocking climax, featuring a one-two punch of twists that’s pure Agatha Christie magic. Wilder even kept the final ten pages of the script from the cast until it was time to shoot, allowing the actors to play their roles without knowing their true motivations.

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It’s possible this led to what many consider to be Dietrich’s finest performance, given her Christine’s persona is shrouded in mystery throughout most of this film. Without the final pages, clearly Dietrich had to make her own presumptions about where Christine’s character arc was heading. It gifted Dietrich the opportunity to deliver a far more natural performance than much of her previous work, instilling such an intoxicatingly elusive quality to Christine that consistently keeps an audience on edge as to who she truly is and what she may be hiding.

It’s a film filled with a cavalcade of fantastic performances, both large and small. Lancaster is a genuine scene-stealer in her Oscar-nominated turn as the battle-axe of a nurse, particularly her hilarious verbal sparring with real-life husband Laughton. The two play off each other in perfect harmony with Sir Wilfred spitting numerous vicious barbs Miss Plimsoll’s way (“If you were a woman, Miss Plimsoll, I would strike you.”), which she effortlessly bats away in her overbearing attempt to enforce her patient to down his pills and take his naps.

Unsurprisingly, the real star here is Laughton, in a scenery-chewing performance as the shrewd and highly perceptive barrister. It’s a boisterously hammy performance that consistently threatens to fly out of control. But Laughton’s deft talent always knows precisely when to pull back when necessary to craft a wonderfully rounded character anyone would kill to have defend them in court.

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In a career of mostly dramatic turns, Laughton’s comic timing is surprisingly sharp and it’s staggering he’s able to create a cantankerous character who’s ultimately rather lovable. Had it not been for one Sir Alec Guinness, it’s likely Loughton would have walked home with his second Academy Award for Best Actor.

By comparison to Wilder’s other notable work, Witness for the Prosecution is a decidedly simple production, avoiding the use of flashy cinematography or inventive imagery. The film often feels more like a filmed stage play, remaining faithful to Christie’s original work, allowing a strong focus on its gripping narrative.

Wilder’s adapted screenplay is filled with his usual biting, sardonic dialogue, crafting some wickedly hilarious moments that liven up its rather sombre storyline. Wilder was always a filmmaker who grabbed an audience’s attention right from the opening frame, and this another example of the director’s impressive skills.

When we look back on Oscar years of the past, we can do nothing but prophesize what might have won under different circumstances. If not for A Bridge on the River Kwai, it’s entirely possible Witness for the Prosecution may have been 1957’s chosen honouree. It’s a witty, energetic film, brought to life by a stupendous cast and a filmmaker at the top of his craft. With a cracking pace that never lags and an ending you will long remember, this is a brilliant film that truly set the standard for courtroom dramas.