Billy Wilder Bears Witness to Dietrich and Laughton's Supreme Thespian Skills

    

      Providing possibly the best screen adaptation of an Agatha Christie work, with the writer's mastery of ingenious plot twists in full evidence, 1957's Witness for the Prosecution provides viewers with an enthralling mystery that will keep them guessing throughout the film's 116-minute running time. Expertly helmed by Billy Wilder, whose sharp-witted screenplay adaption (with co-writers Larry Marcus and Harry Kurnitz) of Christie's hit 1953 play (in London, and then on Broadway) adds abundant humor to the often-tense proceedings, the movie offers an ideal showcase for an imposing roster of top screen talent. The choice roles on view allow many to score splendid moments, but stars Charles Laughton and Marlene Dietrich dominate, going at their juicy assignments with a fervor and dexterity guaranteed to impress audiences, suck them into the tale in short order, and keep them absorbed right through the film's fascinating, unpredictable climax.

    Billy Wilder was in the midst of one of the best runs ever for a film maker, scoring consistent commercial and critical success since his debut as writer/director, 1942's The Major and the Minor, which included such classics as Double Indemnity, The Lost Weekend, Sunset Boulevard and Stalag 17. Witness would mark another fine entry in Wilder's filmography, just before the incredible one-two punch of Some Like it Hot and The Apartment, the 1960 smash which would garner Wilder three more Oscars to add to his previous three Academy Awards. Witness specifically served as a warm-up to The Apartment in regard to masterfully mixing comedic and dramatic elements in a seamless manner to move a plot forward, with Wilder exhibiting a deft, confident touch in allowing plenty of witty repartee to enliven proceedings throughout the mystery, while taking nothing away from the dramatic and suspenseful elements crucial to Christie's engrossing whodunit.  

    As the redoubtable barrister Sir Wilfrid Robarts, determined to take on possibly his last and most intriguing case despite ill health, Charles Laughton excels in seemingly effortless fashion in one of his richest performances, wherein he appears in complete synch with the sage, temperamental Sir Wilfrid's every mood and thought. The role offers Laughton a chance for both fiery theatrics in the courtroom scenes, more subdued playing in earlier moments as Sir Wilfrid ponders the nature of the case, and sly asides and observations aplenty throughout. It's a prime example of an actor exhibiting a true love of his craft, as in every scene Laughton appears to be relishing the chance to delve into the juicy aspects of the role, providing audiences with both a riveting portrayal they can't keep their eyes off, and a strong focal point as the plot unfolds. In an incredible roster of screen credits, including his early-career Oscar-winner, The Private Live of Henry VIII, The Ruggles of Red Gap, a Captain Bligh for the ages in 1935's Mutiny on the Bounty and The Hunchback of Notre Dame, Laughton's canny contribution to Witness rightfully holds a prime position among his greatest film work. 

    Witness offered Marlene Dietrich possibly her best role since her legendary1930's work with director Joesph Von Sternberg that created in Dietrich an alluring cinematic icon of un-surpassing beauty and captivation. As Christine Vole, the mysterious figure at the centerpiece of the drama, Dietrich handles the femme fatale facets of the role with sophistication and a serene world-weariness that proves simultaneously compelling and off-putting to both Sir Wilfrid and the viewer from her first entrance. However, the nature of the story allows Dietrich to play far beyond her comfort zone and screen persona, affording her rare opportunities to demonstrate her fine dramatic gifts, which she artfully combines with her legendary screen-goddess aura. Dietrich seizes the chance to show the level of clarity and emotional strength she could bring to a part in her key Witness scenes, creating an unforgettable portrait of a complex, determined and mesmerizing woman.

    Top-billed Tyrone Power, in his last film before his untimely death at 44 while filming Solomon and Sheba in 1958, works hard in the trickly role of Leonard Vole, the man in question regarding the film's murder, leading to the prosecution. Power had gained a huge following as 20th Century Fox's top romantic idol shortly after the start of his film career via 1936's Lloyds of London, and he continued to prosper in this vein with such successes as In Old Chicago, Jesse James, The Mark of Zorro, The Razor's Edge and The Eddy Duchin Story. However, Power yearned for more serious consideration as an actor, achieving his best chance via 1947's grim-but-gripping film noir, Nightmare Alley, a flop upon release but today deemed one of the greatest noirs and Power's finest work. Still a major leading man onscreen, in the 1950's Power would turn to the theater for heftier histrionic work, specifically on Broadway in John Brown's Body, wherein he was directed by Laughton. Thereafter, Power must have been satisfied to gain one of his most challenging film roles in Witness and, although he appears to be striving for dramatic effect at times, the overwrought particulars of the part largely bear out this approach and allow Power an apt swansong for an admirable career. 

    A perfectly chosen supporting cast ably assists the star players. Chief among these is Elsa Lanchester, who is beautifully matched with her longtime offscreen husband as Sir Wilfrid's cheery yet no-nonsense, extremely efficient nurse, Miss Plimsoll, determined to do everything in her power to keep Sir Wilfrid in line on his road to recovery, much to his chagrin. Trading banter with and withstanding a barrage of insults from her charge, Lanchester plays in perfect accord with Laughton, with their ace teamwork resulting in some of the movie's biggest laughs, but also including a moving, richly satisfying final fadeout between the two. Una O'Connor (recreating her Broadway role) also scores heavily as Janet McKenzie, the victim's leery, outspoken housekeeper, who makes no bones regarding her views during her lively courtroom cross-examination by Sir Wilfrid. Norma Varden, in a manner similar to her excellent work in Alfred Hitchcock's Strangers on a Train, lends a flirtatious air and charming insipidness to Emily French, the well-to-do widow, then aforementioned victim of the story who takes an interest in Leonard, while Ruta Lee is briefly seen to good effect as an observer once the courtroom proceedings are underway. 

    The male contingency is also meritorious, with John William's lending his patent dry wit and deep, ducal vocal tones as Brogan-Moore, Sir Wilfrid's junior counsel. Henry Daniell, in a much less ominous manner than his terrific work as a villain in Camille, The Sea Hawk, Jane Eyre, etc., helps get Witness started in first-rate fashion as Mr. Mayhew, the concerned solicitor who brings Leonard's case to Sir Wilfrid and discusses chief points of interest therein. Ian Wolfe exhibits a caring, knowing nature as the calm valet who's assisted Sir Wilfrid for years, and who aids Miss Plimsoll in keeping the often-irascible barrister in his place. In the courtroom, both Torin Thatcher, as the tough but sometimes bemused Crown prosecutor who goes toe-to-toe with Sir Wilfrid in some of the movie's most entertaining passages and Francis Compton as Justice Wainwright, who oversees the trial with sage diplomacy and an endearing geniality, makes indelible impressions that help vitalize these lengthy jurisdiction sequences. 

    Released in December of 1957, Witness went on to great popular and critical success, amassing $3,750,000 in film rentals (according to Variety) to place among the top 20 grossing films of 1958, while also doing well at the Academy Awards, with nominations going to Wilder, Laughton, Lanchester, along with nods for Best Picture, Film Editing and Sound Recording, after the movie first gained five nominations at the Golden Globes (among them Dietrich for Best Actress), with Lanchester winning for Supporting Actress. Laughton's astounding, richly entertaining work also gained him a British Academy Award nom and a win for the David di Donattelo (aka the Italian Oscar) Best Foreign Actor, while Wilder placed among the finalists for the Director's Guild award. With a slew of great performances, a wealth of memorable dialogue and one-liners, and enough plot twists to keep viewers wondering exactly what the final outcome will be until the film's last minutes, Witness for the Prosecution has lost none of its entertainment value and power to surprise enrapt viewers decades following its original release, retaining its place at the forefront amongst the Cinema's best renderings of an Agatha Christie tale, and consequently one of filmdom's most engaging, memorably perplexing mysteries.