To Kill a Mockingbird (1962)

Synopsis:

Gregory Peck (The Yearling) is a southern lawyer, Atticus Finch, who, during the depression era, defends a black man (Brock Peters, Soylent Green) accused of rape. Meanwhile, Finch deals with the difficulties of being a single parent to his two impressionable children (Mary Badham and Philip Alford).

Reaction & Thoughts:

“Before I can live with other folks, I’ve got to live with myself.”

To Kill a Mockingbird is one of the most universally loved by movies of all time. Like The Wizard of Oz (1939) and Singin’ in the Rain (1952), it’s an indisputable Hollywood classic. Based, of course, on Harper Lee’s 1960 Pulitzer-winning novel, this legendary production is also a rare case where film and book are both equally great. Today, it’s hard to separate the two — they complement each other rather well.

To Kill a Mockingbird is so richly textured, and so full of eloquently expressed ideas, that I always succumb to its magic. Sensitively directed by Robert Mulligan (Summer of ’42) from a screenplay by Horton Foote (The Trip to Bountiful), the film succeeds in shedding light on America’s darkest corners candidly and tenderly.

The film’s triumph primarily resides in its ability to be multiple things at once. First, it’s a story about discrimination and its devastating effects on a community. To Kill a Mockingbird also deals with the contradictions of nostalgia — we mourn our childhood, yet we are happy to put our past behind us. Finally, the movie even works as a courtroom drama (the trial scenes are short but intense).

To Kill a Mockingbird preserves the book’s most effective device; the story is told from the children’s point of view. There is a conscious attempt to supply most of the information through the eyes of the kids. It’s a powerful approach that helps humanize the situations. As the kids become observers, their questions become our questions, and we are forced to participate in the shattering of their innocence.

Towering above it all is Gregory Peck’s superb performance as Atticus Finch. His summation speech is electrifying. There is also a great moment near the end of the film that demonstrates how good the actor is in the main role. Director Mulligan trusts Peck’s genius so much that he shoots the actor from behind. His back is facing the camera, you don’t see his face, and you still know exactly what he is thinking!

The kids, newcomers Mary Badham and Philip Alford, are terrific as well. They look and feel like real children. Film debuts of William Windom (Dr. Seth Hazlitt on TV’s Murder, She Wrote), Alice Ghostley (Esmeralda on TV’s Bewitched), and Robert Duvall (The Great Santini), who plays Arthur “Boo” Radley. The uncredited narration is provided by actress Kim Stanley (Séance on a Wet Afternoon and Frances).

Conclusions & Final Thoughts:

To Kill a Mockingbird is a true classic, and its enduring popularity was certified when the American Film Institute chose it as one of the best American films ever made. It’s like a symphony in which all instruments are fully synchronized. For the uninitiated, this is a real discovery. Highly recommended! B&W, 129 minutes, Not Rated.