The Sellout (1952) User Reviews

Conflicts of Interest

[bkoganbing · 6/10 · 22 March 2006]

The Sellout is a good B picture crime drama out of MGM using a solid heaping helping of their B picture contract players.

Newspaper editor Walter Pigeon and a friend Whit Bissell get caught up in a speedtrap in the rural part of the county they reside in. Given the Code was in place in 1951, I'm sure they would have been brutalized far more graphically in the jail of Thomas Gomez the corrupt sheriff of the county. Still and all it's enough to fill Pigeon with a firm resolve to get Gomez. Even without the help of local prosecutor Cameron Mitchell who is Pigeon's son-in-law.

But a crusading special prosecutor from the State Attorney General and an honest city cop played by John Hodiak and Karl Malden respectively get into the picture due to Pigeon's hard hitting articles. There's far more than a speedtrap involved. Then Pigeon's ardor suddenly cools.

I think that anyone who's seen a lot of movies can figure the ending out from here. But these are a good group of some of the best players around. One other reviewer mentioned that Audrey Totter's role as a woman of easy virtue is left up in the air. I would guess the editors had more to do with it than anything else.

Thomas Gomez delivers the best performance in the film. He's a viciously evil man and he drives his corrupt lawyer Everett Sloane crazy. Sloane tries very hard to fix things without violence or crudity. But Gomez just can't be controlled.

It's a good film, very much like The Phoenix City Story that would come along a few years later.

Enviable cast doesn't ignite four-square crusade against corruption

[bmacv · 7/10 · 18 January 2003]

An enviable cast of noir veterans (John Hodiak, Audrey Totter, Walter Pidgeon, Thomas Gomez, Everett Sloane, and Karl Malden) tackling an all-American storyline - a newspaper crusades against municipal corruption - promises something above the ordinary. But The Sellout's promise, like cold fusion's, proves an inflated one; the movie never quite ignites.

An editor from a mid-sized city (Pidgeon), visiting his daughter's family in a neighboring county, drives into a speed trap. He's thrown into jail, subjected to a prisoners' kangaroo court, and fined the entire contents of his wallet. Once back, he launches a crusade against this hijacking of the law, lining up witnesses and publishing blistering editorials against Gomez, the sheriff, and county boss Sloane. Then, abruptly, he leaves town and the campaign ceases.

A prosecutor from the state capital (Hodiak) is sent to investigate; upon arrival, he's ambushed by a B-girl and shantoozie (Totter) who works at the machine's headquarters, a road house called Amboy's. Her philosophy of life is eloquent: (`Who makes plans? You do the best you can - Sometimes you wish things turned out differently.') But she grows sweet on him and warns him off. With the help of honest cop Malden, Hodiak tries to get to the bottom of the editor's silence, but everywhere encounters a stone wall. It turns out that the corruption runs very close to home....

Probably the biggest shortcoming of The Sellout is relegating Totter to a sub-plot that fizzles out too early; she lends the movie whatever quirky subversiveness it shows. For the most part, however, it's four-square - there's little visual excitement - and a little too self-important. Though crowded with incident, it ends up just plodding along. It's also rooted in a now (one hopes) vanished America where out in the boondocks, away from the bright lights of civilization, lurked pockets of unexpected peril. The billboards marking the city limits might have well warned: Beyond here lie monsters.

"Every man has his price"

[vincentlynch-moonoi · 7/10 · 23 September 2015]

I disagree with the general trend of reviews for this film. I think it's a very strong film. However, it has the feel of a small film...but I think that's what was required here because it's a film about a very small town. Small town -- small film. That's a match.

At first glance, it looks as if the plot is going to be pretty simple. Newspaper editor is arrested in a small hick town on false charges and will lead a crusade to clean up the town. Until he uncharacteristically steps back and decides to leave his town completely. Huh? Walter Pidgeon running away? Fortunately, someone takes up the crusade -- but not Pidgeon's son-in-law, a county prosecutor. Hmmmm. A family that has high ideals until they're put to the test? But someone has to lead the charge. So that falls to John Hodiak, a state prosecutor. And he faces a brick wall because everyone is afraid to testify against the small town thugs.Will the newspaper editor testify? And if not, why not? Today's audiences may not believe that there were places like this back before the 1960s. People did sometimes virtually disappear.

Walter Pidgeon is quite good here as the newspaper editor; I wonder how he liked a film where for at least part of the time he appeared to be a coward. John Hodiak is very good as the state attorney. Thomas Gomez is good...and disgusting...as the crooked sheriff. Karl Malden is good as an honest cop.

I don't find a lot here to criticize. The ending gets -- as a couple have already said -- a little preachy and too idealistic. And, I think they could have made more earlier in the film about the dilemma facing Walter Pidgeon.

I liked it and recommend it.

Losing Momentum

[dougdoepke · 27 July 2009]

1951, the Kefauver congressional committee on organized crime and corruption is making headlines, and MGM under new head Dore Schary is trying to make that famously big-budget studio relevant to news of the day. The trouble is that the so-called Tiffany of studios just doesn't have the same feel for gritty material as a Warner Bros. or an RKO. Too bad this film doesn't sustain the harrowing feel of the first 15 minutes, when prominent editor Allridge (Pidgeon) is brutalized after a minor traffic infraction by corrupt Sheriff Burke (Gomez). Allridge's ordeal has the feel of a "sudden nightmare" to it, as if he's been abruptly forced into a savage new world where the old civilized rules no longer apply. It's a backwater county run by the sheriff like a private fiefdom and a jailhouse where inmates rule once the cell door slams shut. I like the way we're shown the difficulties state prosecutor Johnson (Hodiak) encounters in trying to rid the county of Burke and his outlaw regime.

Still and all, the longer the movie lasts, the more momentum it loses, ending with a final 20 minutes of plodding courtroom procedure. There's still some suspense in the air (why did Allridge skip town), but the initial energy has long since dissipated. At least part of the problem lies with uninspired direction that can't sustain the early sense of tension and evil. Too bad noir maestros like Phil Karlson or Anthony Mann weren't running the show. Those reviewers contrasting this film with Karlson's similar Phenix City Story are right on target. Nonetheless, the movie does have its moments, along with a vibrant turn from the under- rated Audrey Totter who never seemed to get the recognition her talent deserved.

Exceptional if a bit preachy.

[planktonrules · 7/10 · 26 March 2011]

A reporter (Walter Pidgeon) happens to go through a county in the countryside. He is pulled over by the cops and arrested--though he'd done nothing. Then, in court, he sees that one by one, innocent folks are being shaken down by a corrupt sheriff and a corrupt judge. So, he makes it his crusade to bring down these crooks. As he digs, Pidgeon sees that this organized crime runs deeper--these 'cops' help run illegal gambling and various vice operations! When he appeals to people higher up in the state government, people are reticent to do anything--after all, that county brings votes to the state party machine. What can be done? Eventually, Pidgeon's articles have an effect and John Hodiak is sent from the state prosecutor's office to investigate. But his case isn't easy--as the reporter has just disappeared and so has his file on the corrupt county.

Some time later, Pidgeon returns home--briefly. There's not much of an explanation where he was, he's ready to move to Detroit and he has no interest in following up on his articles on corruption. It's obvious he's scared and has no intention of continuing. Can Hodiak change his mind? He sure needs Pidgeon's help with the investigation.

All in all, an exceptional film--tough, exciting and well-acted. My only quibble, and it's a little one, is that the film is a tad preachy at the end. Still, it's a nice film--well worth seeing--especially since the cast was so capable. In addition to Hodiak and Pidgeon, the film has support from Audrey Totter (who plays a great dame), Thomas Gomez (who's almost always the heavy), Everett Sloan, Cameron Mitchell, Whit Bissell, Karl Malden and Frank Cady (Sam Drucker from "Green Acres")--a very impressive list. It was also cool seeing Burt Mustin playing the corrupt judge--the sort of role you wouldn't expect from this fun character actor.

Any Film in Which Bert Mustin is a Villain Can't Be All Bad

[joe-pearce-1 · 6/10 · 7 August 2018]

This was something of a frustrating film, as although peopled with solid actors of reasonable note, it gives much evidence of being a holdover from the early talkie days of B films that ran about 62 minutes and left miles of storyline on the cutting room floor or just not filmed at all. At 83 minutes, it didn't have to be this way, but the films jumps days and weeks, and important events and storylines are mentioned after they have taken place offscreen and almost as an afterthought. For example, at one point, Hodiak mentions that 43 of 55 witnesses have reneged on their statements and/or on their willingness to testify, but that 43 number comes out of the blue after we have seen only one witness express some trepidation.

I should also add that much in this story seems reflective of my own experience. When I was in the army (1963-1965) a decade after this film, and stationed in Western Maryland, when driving there from New York, we were picked up more than once by police for speeding, having a light out, whatever, and instructed to drive behind the police vehicle to one of several (what looked like) county stores that had a set up in the back where someone (probably a minor judge) seemed to sit all night, just waiting for the cops to bring in miscreants like ourselves so that he could fine us $15 or $20 before sending us on our way. And this is how they treated the U.S. military ($78.11 a month pay). I can't imagine how others might have been treated (but certainly not as badly as in this film, I hope).

Anyway, the performances are all solid. Pidgeon kind of disappears a bit less than halfway through the film, and from that point on the real stars seem to be Hodiak, Malden, Gomez, Sloane and the always-excellent Audrey Totter, until Pidgeon comes back in near the end. The final courtroom scene holds the interest, and both Hodiak and Hugh Sanders (as the good judge and in, given its relative brevity, probably the best role he ever had; he gets to make the longest speech in the film) do well in it, but I was surprised to see Karl Malden billed 7th or 8th considering that he had just won a Supporting Actor AA for STREETCAR and, quite honestly, his is one of the larger roles in the film. And Frank Cady has maybe his best screen role, far larger than in the same year's HIGH NOON. Cameron Mitchell, in one of his first films, also doesn't have much to do, but his character is pivotal to the story.

All in all, an enjoyable little crime drams with a lot of holes in it, saved by the performances.

No Stool Pidgeon

[wes-connors · 6/10 · 1 October 2011]

Idealistic and respected newspaper editor Walter Pidgeon (as Haven D. Allridge) is accosted by corrupt sheriff Thomas Gomez (as Kellwin "Casey" Burke) in a nearby town and treated poorly in jail. Vowing to "skin this tin badge off that sloppy shirt of yours if it's the last thing I do," Mr. Pidgeon wants his newspaper to help blast the nasty Sheriff out of office. Then, suddenly, he becomes "The Sellout" and stops his exposé. Following a likely murder, state attorney John Hodiak (as Charles "Chick" Johnson) and detective Karl Malden (as Buck Maxwell) attempt to prosecute the case, but find Pidgeon uncooperative. The transition of leading men is awkward, but this is an engaging little drama, with a nice supporting cast.

****** The Sellout (5/30/52) Gerald Mayer ~ John Hodiak, Walter Pidgeon, Karl Malden, Thomas Gomez

Mildly entertaining

[MikeMagi · 6/10 · 29 September 2015]

MGM wandered out of its league when it made "The Sellout" and the result is a mildly entertaining thriller that doesn't have much tension. All the pieces are in place -- Walter Pidgeon as a crusading newspaper editor, John Hodiak as a government sleuth, Audrey Totter as the sexy pianist at a sleazy roadhouse. But whereas Warner Bros. would have given the tale a hard edge, it comes up sorta' soft in Metro's hands. Perhaps the best performances in the film go to the villains, led by Thomas Gomez as a brutal, corrupt sheriff and Everett Sloane as his smarmy mouthpiece. They're fine. But something's not quite right when the villains stroll off with the movie.

Ignorance of the law is no excuse! In that case you seem to be doing all right!

[sol-kay · 6/10 · 19 July 2009]

**SPOILERS**A bit over-plotted film about political corruption involving the overstuffed, in his stomach as well as ego, and arrogant Ridgewood Country Sheriff Kellwin C. Burke, Thomas Gomaz, who feels that his word is law in the county.

It's when Sheriff Burke tries to put the squeeze on the Daily Intelligencer Newspaper's editor the highly respected and ethical Haven D. Allridge, Walter Pidgon, that he finally took on more then he could swallow. It's when Allridge and his friend, whom he was giving a lift home, Wilfred Johnson, Whit Bissell, were arrested by Burke on trumped up charges-in Allridge not having his drivers license on him-that Burke and his stooges got more then they bargained for.

Exposing Burke's corrupt activities in Ridgewood County on the front pages of his newspaper Allridge had Burke & Co. start to play rough with him. Burke had one of the trucks delivering Allridge's paper run off the highway and its driver killed. It was then that both local Ridgewood County police Captain Buck Maxwell, Karl Malden, and Federal Prosecutor Charles "Chick" Johnson, John Hodiak, got on the case. Just when everything was going fine in getting Burke indited on a slew of Federal and local violations of the law, including murder and intimidating witnesses, that all the 55 persons who were willing to testify against him suddenly lost their memories! One of those witnesses included that right and honest as well as crusading editor of the Daily Intelligencer Haven D. Allridge!

***SPOILER ALERT*** It's very obvious that Burke and his men got to Alldrige after setting a trap for him and working him over at the Amboy Bar and Grill Nightclub. But the real reason for Allridge turning yellow and attempting to leave town, to Detroit no less, was far more shocking then just a few lumps on his head! It was something very very close to home that if brought out would destroy not only himself, in Allridge not being able to do his job affectively, but his daughter Peggy, Paua Raymond, and her husband Ridgewood County prosecutor Randy Stauton, Cameron Mitchell!

The film "The Sellout" shows how political corruption effects all of those that are surrounded by it even if they have to guts, like Haven Allridge, to stand up and fight against it. There's always something that the people of Ridgewood County have hidden in their closet, involving friends and relatives, that if exposed will bring the roof down on their heads. This is what kept Burke in power all these years in knowing these secrets, that in many cases he was involved in, and using them against men like Allridge who dared to stand up to him. It was in the end courageous men like Chick Johnson and Capt. Buck Maxwell who were immune for Burke's blackmailing tactic who finally brought him and his gang of murderous cut throats to the bar of justice.

county corruption

[RanchoTuVu · 8/10 · 24 March 2011]

John Hodiak plays a state attorney sent in to investigate corruption in a county that is dominated by a corrupt legal system at the head of which is the sheriff played by Thomas Gomez. Hodiak himself is about to resign his position with the state in order to go into private practice, but is sent to this county after a series of stories have appeared written by newspaper editor Walter Pidgeon, who was arrested in the county for a minor traffic violation and had to spend the night in the jail which houses many other prisoners who don't have enough money to pay their fines, and are used as a work detail (almost a chain gang). Hodiak's priorities are reestablished as he meets a detective on this case played by Karl Malden, who teams with Hodiak. As well he meets up with Audrey Totter, who plays a part as a pianist at a bar known as Amboys, where Gomez seems to go every day after work. With Malden on one side and Totter on the other, and a menacing Thomas Gomez (who could remind one of Orson Welles in Touch of Evil) Hodiak gets more committed to his mission to bring down Gomez and his group, which includes a judge played by Hugh Sanders, and his greasy attorney played by Everett Sloane. As a fifties crusade against organized crime film, The Sellout is not that great, but Gomez' part is right on. As well, Audrey Totter, even though many of her lines are questionable, manages to somehow overcome the script and make something good out the part.

Another Somewhat Bland MGM Effort

[LeonLouisRicci · 6/10 · 21 November 2013]

MGM Decided late in the Game to start Producing these Types of Street-Level, Contemporary, Crime and Corruption Movies that RKO and WB had been doing quite Effectively for Years. But as was Almost Always the Case, They just didn't have it, in both Style and Tone.

This One is not Pure Film-Noir but does have some of the Elements. The Jail Room and Hideout Scenes are the Best. The Actors do give it some Noir Feel, more than most of the Set-Ups and there is Enough Sleaziness to give the Film Gravitas.

The Final Act Courtroom Scenes pretty much put an End to the Edginess, Concluding with a Straight Forward and Preachy Blandness. Overall worth a View for the Better Parts but Pales in Comparison to the more Hard-Boiled, Gritty Stuff that was Around at the Time.

Though this fairy tale may be entertaining . . .

[oscaralbert · 8/10 · 17 January 2022]

. . . its false fantasy tries to reassure viewers that corrupt racketeers whom the Russian KGB install as local, state and federal officials sometimes get their just desserts in Real Life. "Haven," THE SELLOUT's title character, is bribed with a higher paying job at the Detroit News. A few months ago, a Kremlin pawn lopped 20 years off the prison term of the mayor who filched millions to bankrupt Detroit. Around the same time this Red Commie puppet freed his comrades working as foreign spies in positions ranging from Arizona sheriffs to the Governor of Illinois. Many Congress people, rogue generals and Red lawyers also got get-out-of-jail-free cards. None of the top government villains in U. S. History have EVER received lasting justice. From Ben Arnold to Dick Nixon, from Wart Harding to Herb Hoover--ALL have escaped meaningful punishment for High Crimes and KGB Misdemeanors. Every government employee swears to uphold a suicide pact that allows Red Commie assets to empty our jails, liquidate every honest citizen and then pardon themselves! THE SELLOUT keeps picturing a courthouse inscription reading "Justice is Truth in Action." What a crock!

split

[SnoopyStyle · 6/10 · 24 January 2021]

Haven D. Allridge (Walter Pidgeon) is a newspaper editor. His family is well respected and his son-in-law Randy Stauton is the county prosecutor. One night, he is pulled over by a corrupt cop and sentenced in a kangaroo court. It's a shakedown of various travelers who have the misfortune of passing through the county. While Randy advises him to let it go, Haven is not about to let any of it go. State attorney Chick Johnson takes an interest but when he arrives in town, he finds that all the opposition had shut down.

The kangaroo court is a great scene. It might add some spice if it could add a black defendant. It's an interesting story although the split timeline has some issues. There is a lack of visual differentiation between Allridge's timeline and Johnson's timeline. I'm not sure there is an easy way to do it in a black and white movie. The movie starts out really strong and I'm solidly behind Allridge as the lead character. I wonder if staying only with him as the lead would be a better choice.

Decent crime drama

[JohnSeal · 5/10 · 20 January 2003]

Dealing with police corruption in a small American city, The Sellout isn't all that far away from films like The Phenix City Story or Kansas City Confidential. Walter Pidgeon plays a crusading journalist trying to get the goods on bent sheriff Thomas Gomez before Gomez gets the goods on him. The MGM cast is solid throughout, including John Hodiak as the reluctant out of town prosecutor, Karl Malden as the policeman assisting him, and good ol' Whit Bissell as a whistleblower. There's a small role for Audrey Totter--whose place in the credits implies a more significant part--and oily Everett Sloane is excellent as the misguided local lawyer. There's not much original here, but the film takes itself seriously and reminds the viewer of a time when it was possible for independent journalism to hang the bad guys out to dry.

The meaning of ethics

[blanche-2 · 23 October 2011]

Walter Pidgeon, John Hodiak, Tomas Gomez, Audrey Totter, Cameron Mitchell, Karl Malden and Everett Sloan all star in "The Sellout," a 1952 film. Pidgeon plays a well-respected newsman, Haven Allridge, who runs afoul of a corrupt sheriff (Gomez). Despite the fact that he and his department have been using violence and other illegal tactics unopposed because people are afraid, Allridge decides to take him down. He uses the power of the press to bring the matter to everyone's attention, and soon an indictment is called for. Since Allridge's son-in-law (Mitchell) works for the court, a special prosecutor (Hodiak) is brought in. Unfortunately, when it comes time for the indictment proceedings, everyone seems to have forgotten what they said previously.

This is an okay movie, although predictable, with good performances. It does point out that ethics aren't just for people who have nothing to lose, when it's easy. True ethics are for the tough times, when one is faced with huge losses.

Good cast.

Good movie, but,

[Delrvich · 7/10 · 4 April 2020]

... they write off Audrey Totter leaving that string untied. 8 for good to great, 7 for good to great with a flaw(s) - not having Audrey Totter end with the protagonist.

Ahead-of-its-time noir as special prosecutor goes up against corrupt sheriff

[Turfseer · 7/10 · 9 April 2021]

The Sellout, a gripping tale directed by Gerald Mayer, takes viewers on a harrowing journey through corruption and redemption.

The film begins with Haven Allridge (Walter Pigeon), a well-known newspaper editor, offering a ride home to Wilfred Jackson (Whit Bissell), a sandwich vendor from his building. Little do they know that this simple act of kindness will lead them down a treacherous path.

On their way home, Allridge is pulled over by a police officer and realizes that he has forgotten his license. This minor infraction snowballs into a nightmare as they are brought before a judge who, unable to pay the bail, promptly sends them to jail. Inside the prison, Allridge is robbed of his meager belongings, and Jackson falls victim to a gang of violent criminals.

Once released from jail, Allridge is determined to expose the corrupt town sheriff, Kellwin Burke (Thomas Gomez), who orchestrated his wrongful imprisonment. Despite warnings from his son-in-law, county DA Randy Stauton (Cameron Mitchell), Allridge embarks on a crusade to bring down Burke, even though he has been repeatedly elected by the townspeople. However, Allridge mysteriously disappears, leaving his family and colleagues in turmoil.

Enter Chick Johnson (John Hodiak), a state prosecutor dispatched to gather evidence against Burke and his accomplices, including slick attorney Nelson Tarsson (Everette Sloane). Johnson is aided by Captain Maxwell (Karl Malden), a police officer from outside Burke's county. As Johnson delves deeper into the investigation, a subplot involving Cleo Bethel (Audrey Totter) unfolds. Initially coerced into spying on Johnson, Cleo becomes a pawn in Burke's dangerous game, but she is ultimately saved by Johnson after enduring abuse from Burke's henchmen.

The Sellout may not offer the high-octane action typical of other films, but it captivates viewers with its intricate narrative and climactic courtroom scenes. Allridge resurfaces unexpectedly, revealing his decision to relocate to Detroit for a new job. He chooses not to testify at the preliminary hearing, jeopardizing the case against Burke, Tarsson, and their associates. Witnesses who had initially agreed to testify against Burke suddenly withdraw their statements.

Bennie Amboy (Frank Cady) is the only remaining witness, willing to testify that he saw Allridge being beaten by Burke's deputies in the presence of Attorney Tarsson. However, Amboy is found murdered, creating a sense of impending doom. The film takes an unexpected turn when Allridge's son-in-law, Stauton, confesses to suppressing evidence related to the murder of a truck driver who planned to expose Burke. Allridge decides to protect his family by remaining silent until Stauton's confession prompts him to come forward. The truth is finally revealed, and Burke and his associates are bound over for trial.

While The Sellout may deviate from the traditional dark lighting and explicit violence associated with film noir, its portrayal of widespread government corruption remains progressive and ahead of its time. Thomas Gomez steals the show with his gripping performance as the menacing and intimidating Sheriff Burke. Walter Pigeon delivers a commendable portrayal of Allridge, the protagonist who ultimately finds redemption. John Hodiak's portrayal of Chick Johnson, though somewhat one-dimensional in his heroism, is still praiseworthy.

The Sellout presents an engaging narrative of corruption, sacrifice, and justice. With its compelling plot twists and standout performances, the film delivers a thought-provoking exploration of power and morality in a small town.

THE SELLOUT. AN MGM FILM NOIR/

[blandacj · 9/10 · 22 January 2021]

NEVER SAW THIS FILM BEFORE TONIGHT, IT WAS A GOOD SURPRISE, L AM SURE IT LANDED AS A SECOND FEATURE ON A DOUBLE BILL.I DONT REMEMBER SEEING ANY ADS IN THE NYC NEWS PAPERS OR THE THEATRE WHERE IT WOUL DHAVE OPENED ON BROADWAY, AS WAS MOST FILMS IN 1952. IT WOULD HAVE BE SHOWN ONLY AS A SECOND FEATURE FROM DAY ONE.

Talky and Slow

[evanston_dad · 5/10 · 6 February 2019]

A slow, talky, noirish drama that's pretty light on the noir and pretty heavy on everything that makes movies not very interesting. I was drawn to this by the promise of seeing Audrey Totter, one of my favorite noir actresses, but unfortunately she plays a good girl in this one, which is nowhere nearly as fun as when she's playing a femme fatale, and she's sadly underused. With all due respect to Walter Pidgeon and John Hodiak, if Totter is in the film, it's her face I want to see, not theirs.

Grade: C-

Headline Fallout

[Waiting2BShocked · 4/10 · 16 September 2007]

Others have summed up the plot in far more detail; so suffice to say, this MGM second-feature has Pigeon taking centre stage in a Smalltown USA, man-against-the-mob story of a newspaper editor getting bogged down in the mire of police corruption he's battling to expose.

Despite being relatively full of incident the action is not exactly rivetingly staged, but then the script allocates much more time to wordy exposition than it does the kind of noir-ish trappings that might otherwise befit this type of plot.

That said there's a full rogue's gallery of a B-cast embodying themes of wasted lives and silent witnesses which, for the running time, was enough to carry this viewer through to the compellingly executed courtroom climax.