Too bad the battle over evolution still seethes in certain parts of the country, which means the movie still has topicality. This earnest version of the famous Scopes trial recounts that milestone event Stanley Kramer style, which means the message comes through loud and clear. It's an actor's hothouse, two hours of dialog with little action except for the marching mobs. Tracy wisely low-keys it much of the time while March, unfortunately, sometimes borders on loud-mouth parody. At the same time, Kelly manages the professional cynic in amiable style. And I really like York as the skinny, slightly befuddled teacher whose dedication to science in the classroom causes the big ruckus. Then there's the rather plain- faced Donna Anderson (Rachel) shrewdly cast as Cates' (York) girl friend, but more importantly, functions as the town's barometer of opinion.
All in all, there's no doubt whose side the movie's on. At times the backwoods fundamentalists are near caricatures, aggressively smug in their trust in the Bible and loud rejection of science as to humanity's origin. But it's important to note that Drummond's (Tracy) basically arguing for freedom of thought and not atheism per-se. Doing the latter would, of course, have spelled box-office doom. Still, it was pretty gutsy of Kramer to take on biblical literalism, even in 1960. In fact, Drummond's religious views are never made clear, though Kramer has him add the Bible to Darwin's tome as the movie closes.
I think it's fair to say that the movie takes a basically liberal position toward religion and reason, rejecting only that which cannot stand up to science. All in all, it's a histrionic powerhouse that at times fairly crackles with emotional give and take in an epic cultural clash.
All in all, there's no doubt whose side the movie's on. At times the backwoods fundamentalists are near caricatures, aggressively smug in their trust in the Bible and loud rejection of science as to humanity's origin. But it's important to note that Drummond's (Tracy) basically arguing for freedom of thought and not atheism per-se. Doing the latter would, of course, have spelled box-office doom. Still, it was pretty gutsy of Kramer to take on biblical literalism, even in 1960. In fact, Drummond's religious views are never made clear, though Kramer has him add the Bible to Darwin's tome as the movie closes.
I think it's fair to say that the movie takes a basically liberal position toward religion and reason, rejecting only that which cannot stand up to science. All in all, it's a histrionic powerhouse that at times fairly crackles with emotional give and take in an epic cultural clash.