Luveh Keraph Quite a few reviewers seem to be taken by the historicity of this movie. It's true that many of the details are correct - but it is also true that many others are wildly incorrect. The most egregious one is the romantic liaison between Justice Jackson and his assistant. I guess that the producers introduced the romantic element for the sake of a wider appeal, but the fact is that, in light of the actual events, this looks ridiculous. Which is a shame, for the movie would have been far more valuable without that silliness. It's mostly because of this that I don't think that it deserves more than 5 points. The bright sides are Brian Cox's and Michael Ironside's performances, and also, but to a lesser extent, Christopher Plummer's and Matt Craven's. Alec Baldwin delivers the same kind of underwhelming performance that he usually does, and Jill Hennessy does whatever she can with her inane and fictitious part.In summary, it could have been a good movie, but it is just a decent one.

amwcsu From 1998 to the present the TNT network has made a series of well-acted films worthy of awards and praise from viewer and critic alike. Not many TV movies can make this claim. Nuremburg is one of these films.When someone says: "Made-for-TV" movie one would expect characters that are miscast at worst misplaced and numerous mistakes such as modern cars deep in the background, a cheaply made background. But Nuremburg shatters this common stereotype. The characters are 3 dimensional and worth remembering. Alec Baldwin's performance is a commanding and selfless figure...very reassuring almost to sickening levels. Christopher Plummer and Jill Hennessey are very inoffensive supporting cast. They aren't as motionless as the scenery. The most riveting performance aside from Baldwin's is Brain Cox's portrayal of Reichmarshall Hermann Goering is spot-on and very intellectual.The films also gets high marks not only for its moral message about justice and democracy. It gets high marks for one particular scene of the liberation of the Nazi concentration camps shown in very explicit and very painful detail. You would actually feel the shock and numbness of the audience. The oral testimony of the survivors also cannot be forgotten as it too explained the Nazi oppression in details just as painful. However, the Nazi officers standing trial remain either unmoved or motionless seeing their crimes from the opposite side of the law. Unfortunately, the accused only show a sliver of their humanity in the face of their ultimate fate: prison time or an execution.Now for the things I felt were lacking in this film, I didn't find that many. I don't hate this film but it's not on the level of the 1962 "Trial At Nuremberg". It should be a full-length silver screen modern adaptation. I didn't like the scenery that was obviously a CGI construct i.e. "the place of justice". There is a lot of emotions in this film like in the big-budget blockbuster. However, it's sanitized, too neat, and *ahem* not controversial enough. I prefer my docudramas with a little controversy albeit a safe dose. In conclusion, this is a wonderful film that is a little too clean and safe given this touchy subject. Nuremberg should be as intriguing as Conspiracy and moving as Schiendler's List. But it's one of the very few movies of 2000's that is my DVD pick and we can't have everything.

Pelle Apparently most viewer knows nothing about the history of Europe, including Germany, Hungary and the whole Central and Eastern Europe as well as the Hitler and Stalin Era. Nuremberg (and a lot of forgotten trials all over Europe) was a revenge and injustice of the winners. What do you think, why were not any American, British, French or Soviet defendants after the WWII? There were no American, British etc. war crimes? There were no Hiroshima, no Nagasaki, no Tokyo, no Dresden, no Hamburg, no Berlin, no Katyn and so on? The Germans had war crimes too, but in Nuremberg the justice was not a real consideration. The main point was: Vae victis! Germany must perish! (That was also a book title in America, 1941.)This film is an awful, ignoble American brainwashing instrument, full of error, lie, propaganda, prejudice and injustice. And first of all: full of hypocrisy. But not surprisingly... Why wasn't enough the Nuremberg process itself? This film is a nightmare. Total darkness after 60 years! This darkness (and hate and narcissism and lack of self-criticism) is the real cause of the massacres in Korea, Vietnam, Cambodia, Serbia, Iraq and so forth. And there are no American war criminals... Bravo, America! Very clever. Even Stalin would become envious of it...

Clive-Silas Hidden inside this purported battle between surviving top Nazi Hermann Goering and American prosecutor Judge Robert Jackson is, I think, the adaptation the writer probably wanted to do - the story of psychologist E.M. Gilbert and his backstage verbal tusslings with men who either refused to acknowledge any guilt (Goering, Streicher) or conversely were overflowing with it (Frank, Speer).When you see Alec Baldwin appear a second time in the credits, as Executive Producer, you feel that Nuremberg was probably conceived as a vanity project for him. Fortunately it is quite easy to let the early scenes of the Court's setup just wash over you, and of course Jill Hennessey is always easy on the eyes. Much of the first half of the first episode is more or less soap opera. Jackson has to persuade Judge Biddle to go to Nuremberg, then to relinquish the Presidency of the court to the British. The bantering relationship with his secretary (Hennessey) serves as a prelude to their becoming lovers during their time in Germany.At this point Hermann Goering appears (the great Brian Cox on top form), totally dominating the trial, totally dominating this mini-series, and your attention is grasped and held. Cox almost wipes Baldwin off the screen. Unfortunately it's very hard not to gain a great deal of sympathy for Goering, particularly when he is with his family, or in the heart-to-heart chats with his G.I. prison guard, Tex. We see Goering as he undoubtedly saw himself, but in reality he wasn't like that at all. The Nuremberg trial and the general travails of imprisonment were an excellent opportunity for him to smarten himself up: prior to his arrest he had become a dissolute and overweight drug addict. Unfortunately no sign of this weakness of character was carried over into the script, leaving an impression of Goering as a noble, principled man - irrespective of whether you agreed with his principles.Also very watchable was Matt Craven in the role of Gilbert the aforementioned psychologist, and Christopher Plummer as British prosecutor David Maxwell-Fyfe (although the real Maxwell-Fyfe was the younger prosecutor, not an elder mentor as depicted here). Particularly gratifying is the scene in which Maxwell-Fyfe tells Jackson that "your documentary approach is legally impeccable - but as drama it's absolutely stultifying" - which might stand as an apt description of Baldwin's part in this series.A last little curiosity, and not to make any personal remarks about Herbert Knaup, but I did find it strange that they cast Knaup, a slightly odd-looking actor, to play Albert Speer, by fairly common consent the handsomest and most photogenic of all the Nazi leaders, particularly as Speer was portrayed here in a sympathetic light. Other than Knaup, many of the actors were very close in looks to their real-life counterparts, most notably Roc LaFortune as Rudolf Hess, almost a living double.