French cinema has recently given us some sensationally good courtroom dramas, such as Alice Diop’s Saint Omer and Justine Triet’s Anatomy of a Fall, both of which put ideas as well as individuals on trial; race, gender and class. Now, Cédric Kahn has reconstructed – with some fictional licence – the 1976 trial of revolutionary leftist Pierre Goldman, who had previously been convicted of killing two pharmacists in the course of an armed robbery. After publishing his polemical autobiography Obscure Memories of a Polish Jew Born in France while in prison – which made him a cause célèbre among the fashionable Parisian classes – Goldman secured a retrial on the basis that the investigation was flawed and he had an alibi for the date and time of the killings, though he admitted to earlier robberies.
And it is this chaotic, clamorous and engrossing second trial that Kahn puts on screen, a trial that brings in antisemitism and French history. Arthur Harari plays Goldman’s patient and longsuffering advocate Georges Kiejman, who, like his excitable client, is of Polish-Jewish background; Stéphan Guérin-Tillié is the court president; and Arieh Worthalter is Goldman, voluble, charismatic and contemptuous of almost every aspect of the proceedings, though not refusing to recognise its authority. Continue reading...
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