November 5, 2025
FILM: NUREMBERG
DIRECTED BY: JAMES VANDERBILT
STARRING: RUSSELL CROWE, RAMI MALEK, MICHAEL SHANNON
RATING: 3 out of 4 stars
By Dan Pal
In 1961, Judgement at Nuremberg won two Oscars: Best Actor for Maximillian Schell and Best Adapted Screenplay. It was based on an actual trial in which Nazi war judges were tried for their actions during World War II. The new film, Nuremberg, takes place slightly before this just after the final days of the war. The Germans have lost and Adolf Hitler is dead. His second in command, Hermann Goring, is captured and imprisoned ready to stand trial himself. Before this can happen, U.S. Supreme Court Justice Robert H. Jackson must determine how to put Goring and others in front of the courts and if this is even possible since such trials had never been conducted before. Meanwhile psychiatrist Douglas Kelley is put in charge of evaluating the mental health of the criminals before any such trials could begin. This serves as the premise for the film which is filled with strong performances, well-designed period sets and costumes, and some emotionally charged moments leading to a major courtroom scene near the end.
This is only the second directing job James Vanderbilt has been credited with. He’s produced a number of well-known films such as Zodiac and Scream. But with Nuremberg he not only has co-written the script but also solidly directs the historical drama. Interestingly, Vanderbilt sneakily infuses the screenplay with some subtle humor early on as the plot is being established. There’s a lightness, for instance, in the early scenes with Michael Shannon as Jackson, almost suggesting we might be looking at a satire version of this story. Rami Malek plays psychiatrist Kelly as wide-eyed and determined in his early scenes. He’s got a sparkling, youthful presence which makes him feel relatable and a bit innocent. Both of these characterizations eventually evolve into something more serious though as they are confronted with some of the darkest and most intense moments in their careers thus far.
Russell Crowe is the big star of the film though and makes Goring into something akin to a congenial monster. It’s been a while since Crowe’s peak when he received three Oscar nominations in a row (winning for Gladiator.) Here, he is almost unrecognizable having gained a significant amount of weight and tasked with the playing the character true to form with a strong German accent. He generally comes across as unremorseful and arrogant as Goring. During his scenes with Malek, his large physical size stands in contrast with Malek’s smaller, far from intimidating stature. The power dynamics are clearly being visually expressed as Goring is trying to manipulate Kelley on some level and Kelley obliges by being overly friendly and empathic toward the Nazi leader. It’s a strange connection as Kelley feels less like a psychiatrist and more like an enabler. At one point, he shows considerable humanity toward Goring by delivering letters to Goring’s wife and daughter. He is endearing himself to the family without initially being aware that this may be a trick by Goring. It is ironic because Kelley himself, as we see, has a penchant for magic tricks outside the office.
None of this is to suggest a problem with the script. In contrast, it’s an effective way to subtly show the methods both men are using to get what they want. When things go awry later in the film, any “friendship” that has been established dissipates and both actors get to let loose and show the deeper sides of their characters.
The visual style of the film appears right on the nose for the era. Sets and costumes are very well-designed. Vanderbilt even includes effective sweeping shots of Nuremberg and the rubble left behind due to Germany’s defeat. Also edited in is actual archival footage from the concentration camps in a very long and overtly disturbing screening during an early courtroom scene.
If the film is trying to say anything in its exploration of how people like Goring become evil, it suggests that darkness within people can happen anywhere and in any country. Whether Vanderbilt and his co-writer Jack El-Hai intended parallels between the figures on trial in the late 1940s and today is beside the point. They are definitely there. When Goring is asked how he could follow Hitler’s grand plan, Goring responds, “he made us feel German again.” Hmm…any relevance to people’s devotion to leaders today?
Nuremberg opens in theaters on November 6th.
FILM: NUREMBERG
DIRECTED BY: JAMES VANDERBILT
STARRING: RUSSELL CROWE, RAMI MALEK, MICHAEL SHANNON
RATING: 3 out of 4 stars
By Dan Pal
In 1961, Judgement at Nuremberg won two Oscars: Best Actor for Maximillian Schell and Best Adapted Screenplay. It was based on an actual trial in which Nazi war judges were tried for their actions during World War II. The new film, Nuremberg, takes place slightly before this just after the final days of the war. The Germans have lost and Adolf Hitler is dead. His second in command, Hermann Goring, is captured and imprisoned ready to stand trial himself. Before this can happen, U.S. Supreme Court Justice Robert H. Jackson must determine how to put Goring and others in front of the courts and if this is even possible since such trials had never been conducted before. Meanwhile psychiatrist Douglas Kelley is put in charge of evaluating the mental health of the criminals before any such trials could begin. This serves as the premise for the film which is filled with strong performances, well-designed period sets and costumes, and some emotionally charged moments leading to a major courtroom scene near the end.
This is only the second directing job James Vanderbilt has been credited with. He’s produced a number of well-known films such as Zodiac and Scream. But with Nuremberg he not only has co-written the script but also solidly directs the historical drama. Interestingly, Vanderbilt sneakily infuses the screenplay with some subtle humor early on as the plot is being established. There’s a lightness, for instance, in the early scenes with Michael Shannon as Jackson, almost suggesting we might be looking at a satire version of this story. Rami Malek plays psychiatrist Kelly as wide-eyed and determined in his early scenes. He’s got a sparkling, youthful presence which makes him feel relatable and a bit innocent. Both of these characterizations eventually evolve into something more serious though as they are confronted with some of the darkest and most intense moments in their careers thus far.
Russell Crowe is the big star of the film though and makes Goring into something akin to a congenial monster. It’s been a while since Crowe’s peak when he received three Oscar nominations in a row (winning for Gladiator.) Here, he is almost unrecognizable having gained a significant amount of weight and tasked with the playing the character true to form with a strong German accent. He generally comes across as unremorseful and arrogant as Goring. During his scenes with Malek, his large physical size stands in contrast with Malek’s smaller, far from intimidating stature. The power dynamics are clearly being visually expressed as Goring is trying to manipulate Kelley on some level and Kelley obliges by being overly friendly and empathic toward the Nazi leader. It’s a strange connection as Kelley feels less like a psychiatrist and more like an enabler. At one point, he shows considerable humanity toward Goring by delivering letters to Goring’s wife and daughter. He is endearing himself to the family without initially being aware that this may be a trick by Goring. It is ironic because Kelley himself, as we see, has a penchant for magic tricks outside the office.
None of this is to suggest a problem with the script. In contrast, it’s an effective way to subtly show the methods both men are using to get what they want. When things go awry later in the film, any “friendship” that has been established dissipates and both actors get to let loose and show the deeper sides of their characters.
The visual style of the film appears right on the nose for the era. Sets and costumes are very well-designed. Vanderbilt even includes effective sweeping shots of Nuremberg and the rubble left behind due to Germany’s defeat. Also edited in is actual archival footage from the concentration camps in a very long and overtly disturbing screening during an early courtroom scene.
If the film is trying to say anything in its exploration of how people like Goring become evil, it suggests that darkness within people can happen anywhere and in any country. Whether Vanderbilt and his co-writer Jack El-Hai intended parallels between the figures on trial in the late 1940s and today is beside the point. They are definitely there. When Goring is asked how he could follow Hitler’s grand plan, Goring responds, “he made us feel German again.” Hmm…any relevance to people’s devotion to leaders today?
Nuremberg opens in theaters on November 6th.