James Vanderbilt’s latest film, “Nuremberg,” delves deep into the harrowing aftermath of World War II, emphasizing that justice must not only be served but must also be perceived as served.
This principle is put to the test as the leaders of the Third Reich face public trials for their heinous crimes, a crucial step in ensuring their accountability.
The film intricately portrays the first hearings of the International Military Tribunal held in 1945, where infamous figures of the Nazi regime are put on the stand.
American military psychologist Douglas Kelley, played by Rami Malek, analyzes some of the most notorious Nazis among the 22 indicted men, focusing especially on Hermann Göring, portrayed by Russell Crowe.
Göring, known as Hitler’s second-in-command, is not just a cold-hearted criminal but also presents himself as a family man and a patriot, making Kelley’s task significantly more challenging.
As Kelley engages in psychological battles with Göring during their sessions, Vanderbilt’s script draws parallels to the tension-filled tropes commonly found in the serial killer genre, reminiscent of films like “The Silence of the Lambs.”
This unique perspective stems from Jack El-Hai’s examination, “The Nazi and the Psychiatrist,” which chronicles the relationship between Kelley and Göring, setting the stage for a high-stakes confrontation.
Alongside Kelley’s psychological duel is U.S. Supreme Court Justice Robert H. Jackson, played by Michael Shannon, who champions the concept of an international tribunal.
Jackson is acutely aware of the stakes: failure to secure convictions could allow the indicted Nazis to escape justice, potentially transforming them into martyrs instead of criminals.
This narrative structure, while compelling, also means that some characters are not given the depth they deserve.
Colin Hanks’ portrayal of psychologist Gustave Gilbert feels somewhat underdeveloped, as the film chooses to streamline the focus on Kelley and Jackson’s interactions.
Additionally, Richard E. Grant’s interpretation of British prosecuting counsel David Maxwell Fyfe is criticized for reducing the character to little more than an alcoholic background figure.
Vanderbilt appears to draw inspiration from his previous work on “Zodiac,” as he attempts to interweave dual narratives around the theme of confronting evil and the moral compromises faced by those in power.
At its core, the film captures the gravity of the historical moment, particularly during a pivotal midnight meeting between Kelley and Jackson amid the ruins where Nazi parades once took place.
This rich backdrop adds layers to the film’s tension, yet the narrative occasionally feels rushed, especially concerning the broader geopolitical maneuvers required to execute the trials.
One notable scene illustrates Jackson’s moral gamble when he blackmails Pope Pius XII into supporting the proceedings, highlighting the intricate power dynamics at play.
Ultimately, Vanderbilt succeeds in creating a powerful depiction of the trial’s critical moments, particularly the back-and-forth exchanges between Jackson and Göring.
The film effectively reveals the facade of Göring’s plausible deniability, culminating in a stark reminder that evil must be confronted and punished in a manner that echoes through history.
“Nuremberg” stands as a sobering exploration of justice, power, and the chilling complexity of human behavior in the face of atrocity.
Scheduled to open in theaters on November 7, the film promises to resonate with audiences while shedding light on a difficult chapter in human history.
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