Father Rivard is a priest in a small, economically depressed coal mining town. Working on what he thinks is a "controversial" work, he lives with the brutal lives of his poor parishioners, ... See full summary »
Dick Van Dyke,
R.P.M. stands for (political) revolutions per minute. Anthony Quinn plays a liberal college professor at a west coast college during the hedy days of campus activism in the late 1960s. ... See full summary »
A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.
Teacher B.T. Cates is arrested for teaching Darwin's theories. Famous lawyer Henry Drummond defends him; fundamentalist politician Matthew Brady prosecutes. This is a very thinly disguised rendition of the 1925 "Scopes monkey trial" with debates between Clarence Darrow and William Jennings Bryan taken largely from the transcripts. Written by
Ed Stephan <email@example.com>
There are several references to "chautauqua meetings" and "chautuqua tents" throughout the film. "Chautauqua" was an education movement for adults in the US. The movement was highly popular at the end of the 19th and in the early 20th centuries. Chautauqua meetings spread throughout rural America until the mid-1920s. William Jennings Bryan (represented in the film by "Matthew Brady") was a popular speaker at Chautauquas. Chautauqua meetings or assemblies brought a variety of entertainment and culture for the whole community, with a range of speakers, musicians, etc. See more »
As Matthew Brady ends his arrival speech to a crowd of supporters on the street, the 'old time religion' song is sung by the throng, but their lips are completely out of sync with the soundtrack. See more »
It's a rare American film that takes the grand clash of ideas as almost its entire central subject matter, and Inherit The Wind has for that reason alone for long been a personal favourite. It's also a film that features some outstanding, larger than life acting, notably from the leads, whether it is Tracy, playing the crusty liberal for whom "an idea is more important than a monument" or the superb March, his performance full of facial tics and movement, and whose fundamentalist character does "not think about what I do not think about." Director Kramer clearly places his sympathies in the former camp, although he does not bludgeon the audience with preconceptions. In fact as a filmmaker he had a reputation for making movies that held opinions and took stands, with a particular weakness for courtroom scenarios. Inherit The Wind came after the post-apocalyptic On The Beach, and just before the sombre Judgement At Nuremberg (also with Tracy). In the mid-1970s the director also made three 'judgement' films for TV based on other real trials.
Whilst On The Beach offers a verdict of its own on humanity's military foolishness, and Judgement At Nuremberg is a just as sombre account of another judicial milestone of different significance, arguably Inherit The Wind falls neatly between the two in ways other than just the order of production. Like On The Beach, it makes its judgement too: not on a worldwide disaster visited by man upon himself, but on the perils of stifling free thought. And, as in Judgement At Nuremberg, it's a trial of ideas here too. But whereas the evil ideology of the Nazis ultimately brought millions to their deaths and stands condemned with its architects, it is enough in Hillsboro that "That if you take a law like evolution and you make it a crime to teach it... tomorrow you may make it a crime to read about it. And soon you may ban books... because fanaticism and ignorance is forever busy, and needs feeding." In fact Tracy and March, with Kelly's able help, hold the centre stage for so much of the time that despite their best efforts the supporting cast seem a little enervated. The romantic subplot between Cates and his girlfriend (ostracised by her father for straying into the wrong camp) is occasionally a little cloying and, upon reflection is too much of a reflection from the main event. More damagingly, the character of the Rev. Jeremiah Brown, as portrayed by a miscast Claude Akins, is so fervent and cold hearted in the cause of the righteous that it occasionally wonders too close to self parody. An improvement to historical events is made by the introduction of a, for the most part, even-handed trial Judge Mel. It is he who provides an anchor for the audience in court as the two heavy weights slug it over points of order and procedural objections. Judge Mel also provides one of the trials more memorable, quiet moments when, just as it did in the real case, he finds the increasingly frustrated Drummond in contempt of court - only to see the fine which he levies paid for by the parents of a drowned child condemned by the fundamentalist lobby.
In the light of today's religious debates in the US, Inherit The Wind seems braver than ever, and Tracy's character is allowed several hard hitting outbursts which, one wonders, would remain as so powerfully expressed if rewritten for a modern retelling. When he says, "I don't swear for the hell of it. Language is a poor enough means of communication. We've got to use all the words we've got. Besides, there are damn few words anybody understands" we all know what he means. And when he campaigns for a man to have the same right to think "as a sponge" it's a moment that remains starkly memorable. Curiously, a less emotional Darrow variant was essayed a year earlier by Orson Welles in Compulsion (1959), a version of another famous criminal trial. Inherit The Wind has been remade thrice more to good, but ultimately less memorable, effect (including once with Kirk Douglas) but the Kramer version remains ahead.
Dramatic variances aside, inevitably any presentation of the Scopes trial, and such controversial material as it contains, will never please everyone. The source play upon which Kramer's film is based simplifies matters a little too readily and other criticisms can be made: for instance the original textbook from which the schoolteacher was convicted of teaching illegally evidently contained an advocacy of racist policies and eugenics unacceptable today while it also accepted the notorious Piltdown forgery as genuine proof of a 'missing link' and so on. Again, the relationship between Bryan and Darrow was more complicated in real life than the film has time or care to show - although ultimately one is so caught up in the fairground of judicial combat as the case progresses that one forgives such accommodations with the truth.
Inherit The Wind stands badly in need of a decent special edition, a golden opportunity perhaps being offered by the widely followed 2005 debate that took place in Pennsylvania. The current disc offers little more than the film, although the widescreen presentation does justice to the splendid black-and-white cinematography of Ernest Laszlo, which effectively conveys the sweaty claustrophobia of small town, Bible-belt America. Whether or not the hesitation in bringing out such a potentially controversial, expanded package is a matter of intelligent design or just random selection, the public will have to judge for itself.
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