Stanley Kramer loved to show the human soul at its worst, not its best. He always pointed with his finger and as if said: “Look, there, in the most secret, inconspicuous corner lurked concentrated evil and abomination.” And yes, you have all of this present.” In 1961, Kramer made a film based on real events, which he specifically emphasized. The conviction of the leaders of the Third Reich did not end with the trials of Nazi criminals. In particular, judges sat on the dock. In focus are the hard questions about how this happened? How vulnerable are citizens when judges become agents of repression? Did the judges not understand the criminality of their actions? And most importantly, how far away are we from them? No wonder one of the heroes offers to look at the photos of the destroyed Hiroshima.
Another feature of Kramer’s handwriting is the use of melodrama to create a plot. The most unfortunate feature. Watching this part of the film is painful. Even worse are the pathos monologues of old Hollywood, which Kramer diligently reproduced until the 70s. No less oppressive are the stiff tales of pompous rebukes that a dignified judge could address to Hitler. Faispalm. With melodrama and Victorian stiffness in post-Nazi Germany, Cramer greatly overstated, and the film, alas, turned out dull.