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Richard Schultz, Banc d'extérieur 1966. - source LiveAuctionners.

“Let's show 'em some respect, sir.“ The Trial of the Chicago 7 (2020)

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Politically impotent, but highly entertaining courtroom drama

(Review of ‘Trial of the Chicago 7’)

*Warning: contains minor spoilers*

To say that the autumn release of Aaron Sorkin’s ‘The Trial of the Chicago 7’ felt timely following a summer of numerous instances of police brutality against peaceful #BlackLivesMatter protesters would be an understatement. To say that Sorkin’s high speed courtroom drama is revolutionary in any way whether as a film or a contribution to a political debate would - on the other hand - be a serious overstatement. From the sharply constructed and fast paced opening sequence where all our main characters are introduced with fast editing, upbeat music and brilliantly written shifting dialogue, Sorkin’s main mission (or ultimate fate) is clear: ‘Trial’ should above all be entertaining filmmaking.

Its story does not seem as the obvious fit for an entertaining story, however. In the shadows of the Vietnam War’s growing number of fatalities, various protest groups plan to come to Chicago in 1968 for the Democratic Party Convention to voice their contempt towards the US’ involvement in the war and the military service procedures. The protests, however, end in violent confrontations with the Chicago police. In the aftermath of these confrontations the leaders of the different protest groups are prosecuted for inciting riot and breaking various other laws. It is the battle between the Nixon administration and their oppositions represented by Students for a Democratic Society, the Yippies, several smaller figures and for some reason Bobby Seale and the Black Panthers (actually making it the Chicago 8), although they did not take part in the protests. The film follows their trial at the hands of eccentric and controversial Judge Hoffman combined with flashbacks to the events of the protest.

The film won the SAG ensemble award and that stands perhaps as one of the single least surprising awards of this awards season. ‘Trial’ is - as hinted at by the title - an ensemble piece if there ever was one. The film has no real lead, although Eddie Redmayne as Tom Hayden (SDS), Sacha Baron Cohen as Abbie Hoffman (Yippies) and Joseph Gordon-Levitt as Richard Shultz (Prosecutor) might be at the centre of attention. All involved actors have clearly had a good time with their roles portraying them with great enthusiasm, but for most parts also some degree of limitations.

Redmayne’s Hayden is the typical “good guy” who forgets to stay seated when the group protests the judge and continues to argue with Abbie about their political opinions and especially the manner in which they want them implemented. Redmayne does a decent job, but Hayden never really unfolds as a fully fleshed character to me. I do not feel that Redmayne ever really becomes his character and that is main reason why I never fully connected with him. Baron Cohen has run away with most attention for his portrayal of Abbie Hoffman, which I think partially is down to the fact that he is a somewhat unusually dramatic role for the Borat-actor. Cohen is without a doubt a better actor than he might be acknowledged as, and Abbie allows him a chance to show that. It is, however, still in combination with his classical sarcasm and wit that Cohen fully succeeds with his character. Through a returning stand-up routine throughout the film, Cohen’s Hoffman functions in some ways as a narrator and might be the closest we get to a leading role. He also gets to deliver the most touching lines of dialogue in my opinion as he takes the chair towards the end. Finally Gordon-Levitt tries his best to convey the mixed emotions and increasing doubt as Schultz faces the choice between blind loyalty and his devotion to the law. While I always love to see Gordon-Levitt on the screen, I cannot help but feel that Schultz as a character feels highly constructed and I had a hard time believing him to be that sympathetic towards the Chicago 7.

In many ways, I found Mark Strong as Jerry Rubin, John Carroll Lynch as Dave Dellinger and Mark Rylance as the defendants’ attorney, William Kunstler, to be more fascinating characters than both Hayden and Schultz in particular. Mark Strong continues to be more and more interesting and his Jerry Rubin is easily the most enjoyable character along with Cohen’s Hoffman. Strong, too, manages to balance the vulnerability of the sometimes blue-eyed Yippies with their sarcastic distancing and humour-driven protests in the courtroom. I actually believed in his character, when both the protests and the juridical proceedings become too overwhelming for him and he snaps in various ways. Carroll Lynch is an almost criminally underused actor and here I, too, would have liked to explore his character more as he feels so different from the remaining defendants. With the limited material he gets, he manages to create a sympathetic character. The same can be said about Rylance, who uses all of his theatricality as be battles with Frank Langella’s overdone Judge Hoffman. Langella gives it everything and then some to make Hoffman as unscrupulous, derailed and amoral as possible, which ultimately cooled my resentment towards him. He ended up feeling like a caricature more than an actual character and for that, way less scarier.

How come - despite all the characters’ flaws and limitations - that the film is still entertaining, then? Well, the main answer is Aaron Sorkin. While he is still to fully proof himself as a director (Molly’s Game also had some issues), he still is one hell of a writer. You can accuse him (rightly so) of over-writing his stuff, taking to many freedoms with his source material and balancing on the edge of using too much pathos, but it is hard to resist his razor sharp dialogues and tongue-in-cheek one-liners. He is no stranger to courtroom dramas and it is clear that he is on home-turf with all of these juridical and political exchanges of beliefs. For this reason, alone, ‘Trial’ never feels dull or slow. Additionally, this is aided by an often fast-paced editing and the fact, that it never dwells to long on one point before moving on to the next.

This, however, also stands as the main reason as to why the film never feels anything other than impotent as a political work. It never gets too dangerous or too controversial. It gets most dangerous, when it comes to the inclusion and portrayal of Bobby Seale and the Black Panthers. As Seale, extremely talented Yahya Abdul-Mateen II, is highly forgettable mainly down to the fact that Seale is reduced to a prop in the overall story. During the film, the court is accused of including Seale in the trial in order to scare the jury with a black man; adding a layer of racial injustice to the story. But in reality, it also feels as if Seale’s story line has been added to the film to “tick off” the race box; Fred Hampton is also thrown in there as Seale’s legal counsellor with his untimely death just briefly touched upon. The story of Seale, Hampton and the Panthers deserve more time, more attention and more gravity than given here; an initial opinion of mine that was only made clearer after watching ‘Judas and the Black Messiah’.

Ultimately, ‘The Trial of the Chicago 7’ is a highly flawed film and as a political work it stands as oddly harmless and undaring considering its timing and topic. However, thanks to another fast paced and sharp script by Aaron Sorkin, inspired performances from its all-star ensemble lead by Baron Cohen and Jeremy Strong and interesting plot it ends up as a highly entertaining courtroom film. A well-looking, satisfying meal, although it does not last for too long and leaves a somewhat questionable taste in the very back of my mouth.

4/5