"Witness for the Prosecution (1957)" Movie Review Essay & Film Analysis

Witness for the prosecution ... Oh, the title of the film has many meanings, slippery, crafty and amazingly almost sarcastically truthful
For me, Billy Wilder -. Sverhuspeshnyh Hollywood director era of dominance in the West, avant-garde art, whose films are a prime example, strictly speaking, this avant-garde art. The very same is the avant-garde art is well-known challenges, demonstrations against the academic art that the avant-garde were able to hunt, to drive into the cellars in which they own something, in fact, used to be and a place. Academies halls opened for all sorts of cans or tires that are "installations" proudly pushed the classic still life, all sorts of "performances" mocked the classical approach to composition. The fact that the avant-garde art has long being accused academicians simply, decisively and in general, even naturally took on the mission of the prosecutor and those who bully began to poison themselves to my mind as soon as confirming their temporary and illusory success illegality of this success and justice own persecution.
«judge not, that ye be not judged awake," says the Bible, and this is partly true for pampered knowledge of classical art, its canons, ardent supporters of academic suddenly at mid-West last century subjected to harassment by the youth. ... but still it was a lie because the imperishable classics and avant-garde stuff nobody remembers. But in those days (oh yes!), The avant-garde was exhibited in the palaces, built himself a colossal cost palaces, museums.
essential feature of the avant-garde was a "multi-storey" sophisticated false accusations of classical art in every conceivable sin (which is partly true, for in contemplation AMD does have something predatory) and feels like a fish in water in this atmosphere mainstream Billy Wilder gives us a sample, an allegory of his time in the image of Marlene Dietrich - Special known mildly nestandarnos Tew (read: the avant-garde) his conduct in private life and on stage
So, the image presented in the film desperate and deceitful, and not without a kind of heroic person is the image of a typical for that time, an intellectual, is building a wry smile at the sight. the statue of Venus de Milo, and makes a statement about its shortcomings and the fact that it (say, amerikanochka) "difficult", "decent" and so forth., and so forth., and so forth., and all other.
But the fact that this Billy Wilder's film is really "different" so at least, for example, that it glorify falsehood that g A person "canon" of course is unacceptable! But this was the era when all one lied that they are better than Sophocles, Moliere, that mimic the geniuses of the past it "boring" and even "disgusting" that, say, Sophocles, "immoral" and they paint the cans, clean and innocent. Of course it was a lie - a hysterical, "multi-storey" desperate as the performance of the prosecution witnesses in the performance of one of the queens of the avant-garde -. Marlene Dietrich
I think Billy Wilder saw the essence of the era in a very uncommon and I must say, a talented script of his film ., aware of it or not
Those were the days -. all desperately lied to ... and Dolgan postmodern era in which classical art has been completely restored to its reputation
film's heroine desperate liar whose place in the comedy, but the avant-garde Wilder sees her in a tragic role - innovation is typical of this period a total lie, the era of muddy water in which the fish were carried outlandish like Marlene Dietrich - strangely organic as presented to us by the prosecution witness, damn unnatural creatures.

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