Edward Norton earned his stripes in this crime thriller that sees him transform from actor to character. Although I will voice criticisms in this review, I must start by stating that any serious movie fan should see the film for Norton's performance. It is a benchmark by which all young modern actors can be judged.
Although other films do a better job of portraying the intricacies of courtroom drama, and the police procedures are shoddily written, those elements are not the heart of this movie; struggles for power - Gere's Vail struggling for notoriety, Linney's Janet struggling for independence, Norton's Stampler struggling for control of his own destiny - are central, and play against one another to form the momentum of the plot. That they play out in court seems merely to be a function of several of the protagonists' chosen profession as lawyers.
Aaron Stampler is arrested, covered in blood, after he flees the scene of an archbishop's murder. True to 1996 California (I know, I was there), the chase and capture was carried live on several local news stations. Stampler's guilt is a foregone conclusion in the public eye, despite his lack of a criminal history or any apparent motive. His presumed guilt is unimportant to the publicity-seeking Vail; indeed, it's established in the opening scene that Vail would rather not know his clients' status of guilt or innocence. He finds himself compelled by the stuttering, soft-spoken Stampler, though, and we sense that this conviction of a client's innocence might be a wholely new experience for him.
This part of Gere's performance is subtle, nuanced and ultimately believable. Where he misses the mark is in his interactions with his former partner (Linney), to whom he merely condescends and bats his eyelashes when he's not trying out his stable of lawyerly tricks on her. For her part, Linney plays Janet as a woman in over her head; how she got to her position seems unclear given her shaky portrayal of a supposedly confident prosecutor. What should be tension between her and Gere instead plays as wooden discomfort. It's hard to understand from what we see on the screen why Gere still pursues her.
John Mahoney plays the DA Shaughnessy, a man with too many private pursuits to be a public servant. He is a believably rancorous old boy, and it's a pleasure to see him sharp and unflinching. Younger viewers who know him from Frasier will be shocked by this layered portrayal.
Alfre Woodard also provides great support as the presiding judge, and earns our respect by keeping Vail in check when he's flamboyant, but ultimately being fair.
If you're prone to nitpicking the details of a police procedural, Primal Fear is likely to give you fits, but despite the 7 I rated it, I still believe it's a referential and influential film, not to be missed.
Although other films do a better job of portraying the intricacies of courtroom drama, and the police procedures are shoddily written, those elements are not the heart of this movie; struggles for power - Gere's Vail struggling for notoriety, Linney's Janet struggling for independence, Norton's Stampler struggling for control of his own destiny - are central, and play against one another to form the momentum of the plot. That they play out in court seems merely to be a function of several of the protagonists' chosen profession as lawyers.
Aaron Stampler is arrested, covered in blood, after he flees the scene of an archbishop's murder. True to 1996 California (I know, I was there), the chase and capture was carried live on several local news stations. Stampler's guilt is a foregone conclusion in the public eye, despite his lack of a criminal history or any apparent motive. His presumed guilt is unimportant to the publicity-seeking Vail; indeed, it's established in the opening scene that Vail would rather not know his clients' status of guilt or innocence. He finds himself compelled by the stuttering, soft-spoken Stampler, though, and we sense that this conviction of a client's innocence might be a wholely new experience for him.
This part of Gere's performance is subtle, nuanced and ultimately believable. Where he misses the mark is in his interactions with his former partner (Linney), to whom he merely condescends and bats his eyelashes when he's not trying out his stable of lawyerly tricks on her. For her part, Linney plays Janet as a woman in over her head; how she got to her position seems unclear given her shaky portrayal of a supposedly confident prosecutor. What should be tension between her and Gere instead plays as wooden discomfort. It's hard to understand from what we see on the screen why Gere still pursues her.
John Mahoney plays the DA Shaughnessy, a man with too many private pursuits to be a public servant. He is a believably rancorous old boy, and it's a pleasure to see him sharp and unflinching. Younger viewers who know him from Frasier will be shocked by this layered portrayal.
Alfre Woodard also provides great support as the presiding judge, and earns our respect by keeping Vail in check when he's flamboyant, but ultimately being fair.
If you're prone to nitpicking the details of a police procedural, Primal Fear is likely to give you fits, but despite the 7 I rated it, I still believe it's a referential and influential film, not to be missed.