Compulsion (1959)

We can add Welles to Wilde, Monroe and others who we never respected until they were gone. His pleading for the lives of those crazy boys (as Clarence Darrow did) is an eloquent plea for the ending of the death penalty. Funny, how a barometer like the death penalty tells us so much about a society's relative civility. The US had backed away from it, but is now swinging back toward even public executions (which I would much prefer, as they show all of us how barbaric we have become).

Note that the movie dwells on their 'craziness' and 'richness', not the Jewishness or the homosexual relationships that evoked the wrath of the public in the real case. Both Dillman and Dean Stockwell do an excellent job of drawing out your anger until you find yourself one of the mob yelling for blood. To stem the tide, in comes Orson Welles. Welles' phrasing and meaningful looks struck me again with what a magnificent actor he was, as well as director.

Now I have to go read 'Compulsion', the novel around which this movie was made, to determine what was left out and if it would have contributed to some of the obviously omitted details that make this movie a little choppy. This movie performs the task that great art must take on itself: to provide us insights into life and how it should be lived. That can be done either negatively or positively, by point or counter-point.

Of course, unless you had some excellent writers and actors of the stature of Welles, you wouldn't come up to the quality of this movie. Definitely, black and white contributed to the brooding quality of the film. Color would have detracted, and you'll seldom 'hear' me say this.

Fmovies: "Compulsion" was one of the most important American films of the late 50s. Based loosely on the famous Leopold and Loeb case, the movie still packs quite an impact because of the excellent work by the three principals. As directed by Richard Fleischer, this is a disturbing look at two criminal minds who thought they were above and beyond the law because they had the perfect crime planned. The film was greatly adapted for the screen by Richard Murphy from the Meyer Levin book and stage play.

Even for those clever enough to carry on a murder, there is always a possibility that a minor mistake will give the culprit away. The two young men at the center of the story, Judd Steiner and Artie Straus are homosexual lovers. At the time, being gay in America must have been one of the worst things in a more puritanical and pious society. These two men hide their sexual preference well because of the circles they both move. Coming from upper class families, in a way, made it easier for these men to formulate a plan to satisfy their idle existences.

After committing a heinous crime, just because they thought they could get away with it, the two friends begin experiencing the guilt associated with what they have done. Judd's reaction is different from Artie's. Where Judd tries to lay low, Artie tries to help the police in a bold move that will end up badly. Judd suddenly feels abandoned by Artie when he realizes Artie might be getting too close to the people investigating the murder.

As careful as these men had been, something that apparently seems innocent, ties them to the crime. The principal investigator, Sid Brooks, turns the men against one another by playing his cards right. This is the moment that Jonathan Wilk, the famous trial lawyer enters the picture. Unfortunately, even a star lawyer can't save people that have talked too much because they thought they were above the law.

Star lawyers have always been at the center of all famous trials throughout the history. In a way, it's ironic that only one man, the great Jonathan Wilk is the only person in court to defend Steiner and Straus. Had it been today, these two men would have had a battery of expensive lawyers making the case for them. The figure of Wilke is based on the real lawyer of the Leopold and Loeb case: Clarence Darrow, a man larger than life.

Dean Stockwell and Bradford Dillman made an invaluable contribution to the success of the film. Mr. Stockwell, a child actor that grew up in front of the camera, makes a compelling Judd Steiner. Mr. Stockwell gets under Steiner's skin because he seems to know what made this young man do what he did. Mr. Dillman was a relative new face to the movies, but his performance as Artie Straus has a profound effect on the viewer. Neither man makes a likable person, but maybe that was the message the author of the play wanted to leave the viewer with.

Orson Welles made a splendid appearance as the defense lawyer, Jonathan Wilk. Mr. Welles' physical presence dominates most of the court proceedings. In fact, is a tribute to his genius that he towers over everything around him whenever he is in front of the camera. E. G. Marshall has some good moments as Sid Brooks, the investigator who unearths the truth in this case. Ed Binns, Martin Milner, Robert Simon, Richard Anderson make contributions to the film. Diane Varsi, as the Ruth Evans is the only female that has an opportunity in the film.

The film moves at a quick pace and will, no doubt, satisfy those vi

This was pretty interesting, thanks to Bradford Dillman who was excellent as one of the murderers, and to Orson Welles, as defense attorney "Jonathan Wilk." Wells could be such an imposing presence on screen! Interesting, too, that his character was an atheist but in the end admitted he may have been wrong about that.

E.G. Marshall also was fun to watch as the prosecutor, "Dist. Att. Harold Horn," but, of course, the screen writers had him silent in the end only showing Welles state his liberal impassioned anti-death penalty speech at the end.

Dillman and Dean Stockwell were the wise-guys, young arrogant punks who thought they were smarter than anyone else. Dillman held up under pressure but Stockwell was an annoying wimpy wuss who cracked. Diani Varsi playing the lukewarm love interest, adds very little to the film.

Overall, this re-telling of the famous Leopold-Loeb case of the 1920s was worth the watch and recommended. If this kind of story fascinates you, I recommend a similar film: "Rope" (1949).

Compulsion fmovies. I had never even heard of this movie until today.WHERE in the world are the historians?This is on par for courtroom drama with Lionel Barrymore's great dissertation at the end of, "A Free Soul"-1931.This, also, was a fact based portrayal of Adele Rogers St.John's father's career.

I have to concur with Ms. Brown, and ask the question as to why this movie is not shown more often;i saw it on AMC. The bottom line is the line by Mr. Darrow:"You don't stop killing human beings by killing human beings".Mr. Welles was never in finer form, than when he gives this speech... i understand this speech is verbatim of the transcript of the trial.

Two highly intelligent, wealthy young students attempt to get away with "the perfect murder". This intriguing drama was also filmed as "Rope" (1948) and "Swoon" (1992). Loosely based on the true story of Nathan Leopold and Richard Loeb, this version stars Dean Stockwell (as Judd Steiner) and Bradford Dillman (as Artie Straus), with Orson Welles (as Jonathan Wilk). "Compulsion" is one of the best Hitchcock films NOT directed by Alfred Hitchcock. Oddly enough, Hitchcock did direct the inferior, albeit interesting "Rope"; the film's subject matter has Hitchcock written all over it.

Director Richard Fleischer is at his best, combining material from both Hitchcock and Alex Segal, director of the original play; still, he makes his version of "Compulsion" distinctive. If Mr. Stockwell's glaring glasses and the birds in his room seem like they could be coincidental Hitchcock touches, the dissolve during Mr. Dillman's "Mae and Edna" interrogation scene is a dead giveaway; it was Hitchcock's calling card, in "Rope". From the 1957 play, Stockwell continues as "Judd" (the "strange bird"). But, Roddy McDowell is replaced by Dillman as "Artie"; in hindsight, this may seem like a grievous error - but, thankfully, Dillman excels in the role.

Stockwell, Dillman, and Mr. Welles shared the "Best Actor" award for 1959, at the Cannes Film Festival; and, Fleischer was nominated for "Best Director". Welles' contribution, nominated on its own for a "New York Film Critics" award, was more like an extended cameo, however. Welles dominates the last act, with a grand, blustering impression of Clarence Darrow. Yet, Stockwell and Dillman deserve the "Best Actor" recognition; and, prosecutor E.G. Marshall (as Harold Horn) isn't given a comparative closing argument (the film's main flaw). Welles and Diane Varsi (as Ruth Evans) receive star-billing; but, Ms. Varsi plays an inarguably supporting role. She and Martin Milner (as Sid Brooks) are certainly good, though.

Varsi's character adds depth to the confused sexuality present in Stockwell's character. Note, Hitchcock's "Rope" portrayed "Leopold" and "Loeb" as more homo- than heterosexual. Probably, this film intentionally sought to tone down the same-gender sexual attraction; but, the effort only served to make "Compulsion" sexier, with Stockwell torn between his subservient role with the male Dillman ("You wanted me to command you") and the female Varsi, whom he aborts raping (possibly giving away his preference). The scenes with Dillman in Stockwell's bedroom are sublime; in one, he literally "comes out of the closet."

********* Compulsion (4/1/59) Richard Fleischer ~ Dean Stockwell, Bradford Dillman, Orson Welles, Diane Varsi

The film deal with two young men (Bradford Dillman , Dean Stockwell) who murder a pal . They are law students and followers to Nietsche theories . They are investigated by an astute prosecutor (E.G.Marshall) . He's growing suspicion but there isn't one perfect crime . As the relentless justice to be executed and they go on trial for killing . A famous lawyer (Orson Welles) will defend them on the accusation of murderers and under death penalty . A young girl (Diane Varsi) will testify for them .

This highly interesting film is inspired on real events about Nathan Leopold-Richard Lob killing case in Chicago of the 1920s . Although the story was obviously a thinly-disguised recreation of the known murder case , the legal department of 20th Century Fox was still concerned about a possible lawsuit from the still-living Leopold . In fact , a great effort was made not to mention Leopold or Loeb in the film , press releases , and interviews . The film contains suspense , drama , tension , illicit love with intertwining triangles , emotion , courtroom trial and complex intrigue maintained throughout . Besides , superb performances by main roles (Dillman , Stockell , Varsi, Welles) and supporting casting (Martin Milner , Robert F. Simon , Gavin McLeod , among others). Special mention for Orson Welles who displays a terrific acting and explaining a significant speech into criminal court . The movie is visually magnificent with an excellent black and white cinematography by William C. Mellor . Evocative and adjusted music by Lionel Newman . The motion picture was wonderfully directed by Richard Fleischer .

This is the second of four film adaptations of the Leopold-Loeb murder case , other versions about same events are the famous ¨The rope¨ (1948) by Hithcock with John Dall (in the character of Bradford Dillman )and Farley Granger (in the role of Dean Stockwell), ¨Swoon¨ and recently ¨Murder by numbers¨ by Barbet Schroeder with Michael Pitt and Ryan Gosling . Indispensable and fundamental seeing for court genre enthusiasts and Orson Welles fans . It's one of Richard Fleisher's best. Rating : Above average .