To Kill a Mockingbird 1962 123movies

Watch: To Kill a Mockingbird 1962 123movies, Full Movie Online – Small-town Alabama, 1932. Atticus Finch (played by Gregory Peck) is a lawyer and a widower. He has two young children, Jem and Scout. Atticus Finch is currently defending Tom Robinson, a black man accused of raping a white woman. Meanwhile, Jem and Scout are intrigued by their neighbours, the Radleys, and the mysterious, seldom-seen Boo Radley in particular..
Plot: Scout Finch, 6, and her older brother Jem live in sleepy Maycomb, Alabama, spending much of their time with their friend Dill and spying on their reclusive and mysterious neighbor, Boo Radley. When Atticus, their widowed father and a respected lawyer, defends a black man named Tom Robinson against fabricated rape charges, the trial and tangent events expose the children to evils of racism and stereotyping.
Smart Tags: #trial #lawyer #false_accusation #based_on_novel #small_town #alabama #false_accusation_of_rape #racial_prejudice #courtroom #injustice #racial_discrimination #race_relations #great_depression #racism #single_father #tomboy #1930s #father_daughter_relationship #father_son_relationship #blockbuster #voice_over_narration

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Ratings:

	8.3/10 Votes: 316,917
	93% | RottenTomatoes
	88/100 | MetaCritic
	N/A Votes: 2170 Popularity: 15.922 | TMDB

Reviews:

**A striking, culturally relevant and indisputably important film.**

It is not very rare to see that an actor’s career, however prolific it may be, ends up being especially remembered thanks to his participation in a very small set of films, or even for his participation in a single film. I don’t see this as a demerit, but as something unavoidable: only a very limited set of films ends up surviving the test of time and becoming culturally and historically relevant. Gregory Peck was an actor of great importance in his time, one of the faces of honesty and fairness, since he almost always played characters imbued with great honesty and nobility of intentions. As such, he took place in a wide range of films… but let’s be honest, it is with this film that the actor reaches the peak of his career, and it is here that he achieves the greatest recognition and relevance as an actor.

The film brings to the screen the slightly autobiographical novel by Harper Lee. Strongly inspired by the figure of her father, and by passages from her childhood, the author conceived a story in which an honest and committed lawyer struggles to defend a black prisoner, convinced of his innocence in the face of accusations of rape and aggression against a white minor. Of course, it all takes place in the American South, where racial prejudice runs rampant, as everyone knows. In the midst of all this, a sub-plot also develops, involving a reclusive, mentally weak neighbor, who creates a liking for the lawyer’s daughter.

I’ll start by saying that I’ve never read the original book, so I’m not sure if the movie does justice to its content. However, when preparing this text, I concluded that the writer watched some footage at the invitation of the production and participated in the works with her collaboration, which leaves me with the conviction that the film sought to respect the literary work. Directed by Robert Mulligan, the film is a very convincing drama, but it takes a while to get into gear and to captivate our attention, which is initially invited to focus on children, on the way they behave and interact with the world around then. It will be, moreover, through the eyes of one of them, that we will observe the events.

As I said, it is in this film that Gregory Peck reaches the highest point of his career, giving us an inspired, profound and emotional interpretation of the main character. He was one of the most relevant actors of his time and there are a number of other films where he shines and deserves a closer look from us, but this is where he immortalizes himself. Without coincidence, this is where the actor receives his Oscar for Best Actor, after being nominated four times. Despite being very young, Mary Badham’s performance and a silent appearance by a young Robert Duvall are also worth noting.

Technically, the film is quite discreet and gives the audience plenty of room to focus on the story told. There are no great visual gimmicks, there are no noteworthy effects, but we have excellent black-and-white cinematography with occasional artistic notes and a good filming work. The editing was also very well done, and gave the film a pleasant pace. It takes a while to really become interesting, but if we give the film the opportunity it requires, it will give us an enjoyable story, which we will gladly follow until the end. The soundtrack also deserves praise for its apparent ingenuity, as well as the opening credits and its graphics and visuals.

If you like children’s story, you would love this movie about how the world is shaped from their eyes.

If you don’t … you may find some entertainment in the picture of Southern US and the racial fight that was taking place at the time …

Every bit as good as they say (B&W). Still POWERFUL. 10/10. Spoilers.
Horton Foote’s Oscar-winning screenplay is so good, it really supplants the 1960 Harper Lee book. I’ve recently re-read the novel, and it seemed weighed down and paced with backwoods vernacular and situations right out of the 1930s, that are shockingly removed from the 21st century. My goodness. I hope it doesn’t strike others so, because the book is a gem too. It’s just in need of …updating perhaps, which is what the 1962 movie excels at; it translates the Depression Era for us. The characters (played, eg by Gregory Peck and Brock Peters in their signature roles) seem so much better-depicted on screen than merely in my own imagination from having read the book!

Only Arthur/’Boo’ Radley (a peroxided Robert Duvall) seems at first a jarring casting choice to me; but in the end all seem terrific.

Now THESE child actors, Mary Badham (‘Scout’), Philip Alford (‘Jem’), and John Megna (as ‘Dill’), should’ve won Oscars. I’m sure they’re all better than Haley Joel Osment, who strikes me as ‘studied’. These kids are just natural, completely oblivious of the camera. Unbelievable. Actually, I wonder what genius DID do the casting, because the film gives no casting credit. I guess in 1962 the CSA didn’t exist yet… That casting director deserves an Oscar too.

This is what great filmmaking is all about; when several areas of perfection are jointly present a film that reaches into your heart and yanks you up and down. Those were real acting jobs, not the cretinous drivel passing for ‘work’ these days. The reason we don’t see too many better movies than Das Experiment is because post-modernism has long encamped in Hollywood (it set up a Starbuck’s years ago).

The first scene instantly captures Scout’s world. She’s learning fast at the shoulder of her loving widower lawyer father that she shouldn’t embarrass people who are even poorer than they are; and Jem is tantrumming up a tree because he can’t brag about his dad’s non-existent cool to his friends. Jem demands Atticus play football(!) for the Mets, or more uproariously as Scout tells it, for `the Methodists’, hahahaha. (Can we picture Methodists in a sackrace? How many Methodists does it take to change a lightbulb?)

The Boo Radley story arc is much better paced in the movie than the book; but because I want to focus on the race-relations arc, I will only make passing comment on Boo: he is gently painted in both the book and movie as another previously dismissed but highly virtuous person, who deserves to be analogized with the fragile, hopeful beauty of the mockingbird.

The harrowing exploration of entrenched injustice through various acts of racist violence are adult themes that really couldn’t be explored well in a book constrained by the first person narrative of a 7-yr-old little girl. The movie is able to show the Tom Robinson court case much more objectively. Robert Mulligan’s direction quickly telegraphs Bob Ewell’s shifty creepiness with the scene of his slovenly leering at Atticus’ children in the car. Collin Wilcox is also heartrending as Mayella, the ignorant, uneducated and abused daughter of Bob Ewell. Inexplicably, Gregory Peck’s cross-examination scene is not quite as sensitive as Atticus is in the book; Peck never reveals that flash of pain at having to destroy Mayella’s false testimony.

Little Scout’s key scene, where she embarrasses the lynch mob (collectively no better than Tom Ewell alone) just with her amiable child’s chatter, is EVERY BIT as powerful and stressful as in the book. Probably more, because body language is a much better form of expression for a scene like this.

Brock Peters’ Tom Robinson is the archetypal decent black man who, YES, felt sorry for a brutalized white woman, as we all ought to. Don’t bother debating `what if he was guilty’, because TKAM is not a whodunnit; it’s an expose of what used to happen WHEN a black man was innocent. The heartbreaking destruction of Tom Robinson’s proverbial mockingbird is our collective shame, even now, because similar dismissive laziness still happens. It’s every person’s character that matters, not whether they’re `Methodists’.

We do construct our identities as part of various groups. But no group membership, or belief about it, makes any person categorically virtuous. That still hinges on a person’s strengths, and crucially, their weaknesses. A person’s bad character will overwhelm whatever beliefs they hold; their good character will enhance them. We are all free to act better, or worse, than our beliefs; we’re NOT powerless over them, so no-one should ever die over a belief. Cooler thinking than mere violence must rule, or else objective justice will never materialize. And it’s only justice if the judgement is accurate; but accuracy requires the abolition of the sort of intellectual/societal laziness that regularly befalls the weakest subgroups of society. Well, we all saw the intellectual rigour of that lynch mob. Would you trust them to tell the time? You might not feel happy trusting even the sheriff (Frank Overton), testifying in court but no better than a hick himself: `Oh, I guess that would make it her LEFT’. Those powerful imbeciles stood in judgement over some societally fragile people, like Tom, and yes, like Mayella.

It’s still powerful how Tom’s hammering as sarcastic legal argument by the prosecutor (William Windom) served to bring home Tom’s societal fragility; and we’re humbled at the quiet dignity of the entire black population who soberingly stood in the rafters to honor Atticus’ failed attempt. The movie was made in 1961, some 7 years before the martyrdom of Martin Luther King Jr, yet in the light of recent gang-related violence, it’s clear there are still many who think their group belonging excuses/masks their brutality as people. It does not. And the brutality came first.

This movie needs to be seen by the young, to open their hearts to humanity, and their standards for their own personal character, for the rest of their lives. 10/10.

Other Information:

Original Language en
Runtime 2 hr 9 min (129 min)
Budget 2000000
Revenue 13129846
Status Released
Rated Approved
Genre Crime, Drama
Director Robert Mulligan
Writer Harper Lee, Horton Foote
Actors Gregory Peck, John Megna, Frank Overton
Country United States
Awards Won 3 Oscars. 14 wins & 16 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Westrex Recording System), Dolby Digital
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format 35 mm
Cinematographic Process Digital Intermediate (4K) (2022 remaster), Spherical
Printed Film Format 35 mm