Stand By Your Man-Marlene Dietrich And Tyrone Powers’ “Witness For The Prosecution” (1957) –A Film Review

DVD Review

By William Bradley   

Witness For The Prosecution, starring Marlene Dietrich, Tyrone Powers, Charles Laughton, based on a story by murder mystery writer Agatha Christie, directed by Billy Wilder, 1957

If you have noticed over the past few months that many of the reviews, film reviews in particular, have material added to them which is not directly, and in many cases not indirectly, related to the film itself that is not happenstance but by design. Not the design of any individual reviewer but by the preferences of new site manager Greg Green and the Editorial Board that was created in the wake of the internal struggle with the old regime and its seemingly increasingly autocratic site manager. The new regime’s idea is two- fold, one, to be more transparently democratic in assignment selection and, two, to demonstrate to the reader the inner workings of a social media site and its day to day workings. Whether one or either of those reasons is satisfied in any particular review is up to the reader to decide.

In any case I have been asked, I won’t say ordered, by Greg Green acting under authority of the Editorial Board, to explain how I got this assignment. (I might add here as well that I came on board this site after the internal struggle had died down so I know only what I have heard as rumor around the “water cooler” about the disputes and the process that led to the new regime.) A couple of months ago I had to go to Washington, D.C. on another assignment for another social media site and was asked by Greg to stop by the National Gallery of Art to take a look at the Vermeer and friends (my term since I forget what the official title was but that will do) exhibition that was being held there. I did a review on it which can be found in the December 2007 archives although I know nothing, or knew nothing about 16^th and 17^th century art, Dutch and Flemish art in its golden age, which Bart Webber who does know about the subject took me to task on.

That trip also started the ball rolling on how I came to be a Marlene Dietrich “expert” even though I know nothing about the old-time black and white films which she starred in or the first thing about her career. This is where the example of how assignments are divvied up here comes into play. During that Washington trip I had also gone for my own purposes to the National Portrait Gallery to meet somebody and noticed walking through the halls that they had a Marlene Dietrich exhibit, mostly photographs, complete with a several page brochure about the life and times of the woman. When I passed in the Vermeer assignment in for editing I mentioned to Greg, my mistake granted, I mentioned in passing something about the Dietrich exhibit. A few days later I was saddled not with an assignment about the exhibit but a film that Greg was hot to have reviewed a thing called Stage Fright starring Ms. Dietrich among others.

Like I said on Vermeer and friends I knew nothing about Ms. Dietrich’s career, her private life, or her aura in films except the photos I had seen and the brochure. I gave Greg what I thought was a pedestrian review which he, after serious editing, posted. A few weeks later now that I was a Dietrich “expert” he cornered me to do the film under review, Witness for the Prosecution, directed by legendary director Billy Wilder. By rights this assignment should have gone to Sam Lowell who is something of a Billy Wilder expert. Mr. Wilder was last seen in this space in a review by Sam of his classic Sunset Boulevard where Sam tried to figure out how Joe Average Hollywood screenwriter wound up dead, very dead in has-been silent film star Norma Desmond’s swimming pool. Greg brushed that objection and suggestion off telling me that I needed to “broaden my horizons,” a favorite expression of his it seems. So here goes.       

Even I know that the minute you mention any storyline, film or book, involving Agatha Christie, that murder, murder most foul is in the air. Usually the murder of a high society or wealthy figure for money, dough ,moola for some off-hand expenses. That is the case here where Vole, the Tyrone Powers role, is picked up for the murder of a wealthy widow whom he had befriended for the prosecution’s contention that he did it for that big haul dough. Worse, worse for Vole anyway, was the hard fact that the old dame left him a bundle. The problem though is that if he doesn’t get out from under that murder rap he won’t get a chance to spent nickel one of the loot.  

Enter two figures to the rescue. First Vole grabs the best barrister in town (the guy in the English justice system who gets to try the cases, murder cases anyway), the sickly Sir Wilfrid Robarts, the Charles Laughton role, who having some doubts  about Vole’s innocence, really about whether he can get his man off and away from the big step-off gallows, nevertheless takes the case. Takes the case once Vole can give an airtight alibi-his wife. His German-born cool and demure wife Christine, the Dietrich role, whom he picked up in some German gin mill during his post-World War II British Occupation duty and brought back to London when he was discharged from the service. Christine would all assumed back up Vole’s story that he could not have been at the murder scene since he was home with his ever-loving wife, her, at the time.

An easy acquittal and all will be well. Whoa, hold on Christine as it turned out showed up at trial not to defend her husband but as a witness for the prosecution of the title. She contradicted Vole’s story to the dismay of the good barrister. Now there is a tradition in Anglo-American jurisprudence that says a wife cannot testify against her husband. Good idea except Christine was already married to a German national when she married Vole. Bigamy and no alibi and no exception so Vole’s goose is cooked although for what purposes who knows.      

Those Christine purposes are what drives the latter part of the film and as the announcer at the end of the film tells the audience, tells me, don’t let on about the ending. Don’t tell whether Christine did what she did for love or money. Don’t tell why Vole desperately needed that withdrawn alibi. All I will tell you is Christine is cool, calm and collected during this whole process. The look that she had groomed over many years and many performances. I will say this one has many twists that will keep you guessing right until the end.