All nine reviews are favourable, and none is mixed or hostile. The praise clusters on two things. The first is the film’s seriousness about its subject: critics credit Kramer and Abby Mann with putting the question of how guilty those who followed orders were, and with refusing to answer it too neatly. The second is the cast. Spencer Tracy’s judge is singled out again and again as the calm centre of a three-hour picture, with Montgomery Clift’s shattered witness and Maximilian Schell mentioned almost as often.
The spread is narrow, and the reservations are about craft rather than purpose. Several reviews find the direction and screenplay conventional, with the courtroom material stretched and occasionally glib. Variety judges the film slower and baggier than the television version it grew from, and Radio Times thinks Kramer sweetens a grim story. The New Yorker rates it higher as a record of argument than as drama. Notably, the warmest reviews are the most recent; the notices from 1961 are more measured.
