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18388 Amicus 86 summer text.qxd:Text 23/8/11 15:25 Page 3 Hello Mr Clips 1 by Paul Bergman opular legal culture, especially courtroom films and Lawyers in Your Living Room! Law on Television (ed Asimow, television shows, is more than momentary enter - ABA Press, 2009). tainment. Many people derive much of their legal P It has also led me to present film clip-based lectures knowledge from these sources. Fictional and fictionalized such as the one I was privileged to give at the Institute of legal stories help to shape popular attitudes about such Advanced Legal Studies in May, 2011. This article grows matters as the content and fairness of legal rules, the activ - out of that presentation. ities of lawyers, judges, police officers and other legal actors, and the functioning of the justice system. Considering scenes from courtroom films as cultural arti - BASIC LEGAL PRINCIPLES facts that can serve as teaching tools, this essay examines Courtroom film-makers are generally far more how one might analyse films’ impact on their audiences. interested in telling stories that produce suspense, laughs Early in my career as a law professor (which cynical or drama than they are in technical legal accuracy. But if readers might deride as a “gap career”), I lamented that I they are to engage audiences, films in the courtroom genre had become a lawyer and not an archaeologist. In have to depict legal processes that mass audiences can classrooms and group presentations, archaeologists can recognise based on their everyday experiences. If enthrall audiences with displays of gruesome body parts, courtroom films can reasonably serve as cultural artifacts, shards of old pots or other spiffy visual treats. But as a law then, they should incorporate the basic trappings of what professor, I had trouble identifying dramatic tangible the Anglo-American culture considers necessary objects. Abstract legal principles such as due process of ingredients of a fair trial. And while film makers are quite law and the right to cross examination could neither be happy to distort courtroom processes to fit the needs of waved around a classroom nor displayed on power-point their stories, few films dare tamper with the basic rights slides! that the Anglo-American system of justice considers to be sacrosanct and inherent in a fair trial process. Perhaps this festering envy of archaeologists explains why I began to incorporate clips from courtroom movies and TV shows in such American law school courses as trial advocacy and evidence (in the US, evidence courses generally focus on formal rules of trial whereas trial advocacy courses focus on rhetorical skills). Clips are visual, often dramatic and engaging. And whether or not students are familiar with the sources of the clips, the scenarios are likely to reflect widely-shared attitudes that I can usefully analyse and dissect with students. According to an ancient aphorism, “Those who can, do. Those who can’t, teach.” Perhaps my career has given rise to a third section of the aphorism: “Those who can’t teach, show film clips.” My classroom clip-based teaching led me to write about the social meaning and legal accuracy of courtroom films and television shows. This gave rise to a book (Bergman and Asimow, Reel Justice: The Courtroom Goes to the Movies , Andrews McMeel, 2nd ed 2006) and a number of papers and articles stretching back to 1996, the most recent of these being “Rumpole and the Bowl of Comfort Food” in 1 The essay’s title is a respectful play on the classic James Hilton novel Goodbye Mr Chips and the delightful films based on it, and does not imply that the author claims any resemblance to the endearing character of Mr Chips. 3 Amicus Curiae Issue 86 Summer 2011 18388 Amicus 86 summer text.qxd:Text 23/8/11 15:25 Page 4 For example, film characters accused of crimes virtually widespread uproar over the 1995 acquittal of celebrity always receive a jury trial if they demand one. Jurors may defendant O J Simpson on double murder charges died be tainted by racial prejudice or other improper motives, down rapidly and resulted in virtually no changes to the as in To Kill a Mockingbird (1962) and 12 Angry Men (1957); American criminal justice system (one change suggested by mobsters may frighten them into voting for unjust many legal commentators was an end to the requirement acquittals ( Trial by Jury (1994)); and judges may improperly of a unanimous verdict). Though the verdict may have been influence their verdicts ( Let Him Have It (1991)). However, contrary to the great weight of the evidence, experts and the right to trial by jury is so embedded in the culture that lay people alike agreed that Simpson’s defence team far audiences would be unlikely to become emotionally out-performed the shoddy prosecutors. Conditioned by involved in a story in which a cine-defendant is denied a the lawyer-centred system they see reflected in pop jury trial. culture, audiences may well have accepted that the superior Indeed, one of the most important civic virtues of performance of Simpson’s lawyers was itself a legitimate courtroom films and TV shows may be that they portray contributor to his acquittal. jury trials as a frequent method of dispute resolution. Ask the average person to identify a single feature that best RABBITS AND HATS typifies the unique contribution to justice of the Anglo- Professional training provided by law schools or the legal American system of justice, and “trial by a jury of one’s profession tends to portray trials as exercises in logical peers” may well be the most frequent response. Yet even if persuasion. Novice lawyers learn to develop arguments by we limit the field to criminal cases, jury trials are in reality linking discrete items of evidence to abstract legal elements rare events compared to the number of cases resolved and organising the lot into rational stories. before trial (often through guilty pleas) or through bench This process of accretion, by which lawyers slowly trials. By contrast, legal disputes in films almost always assemble small bricks of circumstantial evidence into what result not merely in trials, but in jury trials. In this way, they hope judges and jurors will accept as a wall, is at odds courtroom films may help maintain the general attitude with the dramatic images of trials that courtroom movies that jury trials are at the center of our legal solar system. typically provide. In cine-trials, lawyers are often more Courtroom films also reinforce the popular image of than the center of the action. They often become Anglo-American trials as lawyer-centered. Judges and jurors magicians, suddenly altering a trial’s direction with are essential elements of cine-trials. But they usually are evidence pulled from a hidden bag of tricks. While real passive characters, reacting to evidence and arguments. lawyers, unlike cine-lawyers, have to follow the rules, real Whether they are heroic (Atticus Fish in To Kill a lawyers also have to recognise and respond to the Mockingbird, Abraham Lincoln in Young Mr Lincoln (1939) expectations that popular culture has likely created in and Henry Drummond in Inherit the Wind (1960)) ); many viewers’ minds – that trials are filled with dramatic hysterically effective (Vinny Gambini in My Cousin Vinny revelations and actual lawyers possess similar dramatic (1992); or corrupt (Andy Griffin in They Won’t Forget (1937) skills to their fictional counterparts . and General Broulard in Paths of Glory (1957)), cine-lawyers The brilliant musical film Chicago (2002), which won the are the principal characters whose decisions and actions Academy Award as Best Picture, typifies the misleading drive stories forward. Especially compared to their civil law images of trials that courtroom films so frequently provide. relatives, common law attorney-centred trial processes are Roxie Hart is charged with murdering Fred Casely. Roxie far better suited to film makers’ story-telling needs . is guilty; she killed Casely after he gloated about convincing Lawyers’ mano a mano cross examinations of frightened or her to sleep with him by falsely promising that he could combative witnesses, and their emotional closing arguments, make her a stage star. Famous defence lawyer Billy Flynn offer fertile ground for drama or comedy. Classic examples creates not only an equally false self-defence story, but he of the former include prosecutor Claude Dancer’s also develops a phony personal history for Roxie that will disastrous cross examination of Mary Palant in Anatomy of make the jurors sympathise with her plight. While in a Murder (1959) and defence lawyer Lieutenant Kaffee’s prison awaiting trial, Roxie is thrilled by the media devastatingly effective cross examination of Colonel Jessop attention accorded to her as the latest glamorous accused in A Few Good Men (1992). The jury often functions as a murderess. But as her trial is about to get underway, Roxie stand-in for film audiences. When lawyers present whispers to Billy that she’s scared. Billy assures her that she arguments to judges and juries, the filmakers’ intended has nothing to worry about. recipients are usually the films’ viewers. Consider for As the scenes morph seamlessly between the colourful example Jonathan Wilks’ anti-capital punishment argument world of a circus and the subdued hues of the actual trial, in Compulsion (1959) based on Clarence Darrow’s closing Billy explains musically that trials are just a form of argument in the Leopold and Loeb “thrill-killing” case. entertainment. Roxie has nothing to worry about because The lawyer-centredness of trials reflected in countless Billy is the star ringmaster, and the jurors will never be able 4 films and TV shows may help to explain why the to see the truth because Billy will “put sequins in their eyes.” Amicus Curiae Issue 86 Summer 2011 18388 Amicus 86 summer text.qxd:Text 23/8/11 15:25 Page 5 The character of Billy Flynn is based on New York indication, lawyers who break ethical rules can be heroes.