Here’s the latest from The Magnificent 60s
Stanley Kramer never caught a decent academic/critical break. Subject matter worthy, execution poor, was the overall consensus. But Judgement at Nuremberg, with its long tracking shots, sometimes turning 360 degrees around a character, should have changed all that. But the kind of critics who would have appreciated such bravura technique weren’t around at the time and even when Antonioni’s The Passenger (1975) appeared nobody thought to reference Kramer, believing this was a new cinematic invention by the esteemed Italian maestro.
So, Judgement at Nuremberg is remembered, if at all, for the subject matter and elevated by the performances rather than the director’s input. Most people misremember what the movie’s about…
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