A nanny who grows up, a girl who is allowed to be a girl. Better than the poster.
The review
Molly has money and no skill. Ray is a child who manages her mother's illness by becoming a tyrant of neatness. The film sees both clearly. The work of watching a child is the thing that makes Molly real, and the thing that lets Ray put down the clipboard. A father-figure rock star is the weak part. The apartment and the girl are the strong part.
Watch it for the correction: charm is not care. Care is showing up when the child is impossible.
Adults. The courtroom is the work. What happened and what can be proved are not the same fact.
The review
A soldier shoots a bar owner and says the man raped his wife. A former prosecutor who now fishes more than he practices takes the defense. I am not going to describe the testimony. In 1959 the testimony itself was the scandal, because a courtroom in an American film was asked to say out loud what a trial of this kind has to say. The lawyer is good at the saying. He is also having a good time, and the film lets you see the good time, which is the correction inside the craft.
Adults. A house does not need this as a primer. A house that wants one picture of how a verdict is made, rather than how a villain confesses, can use it. Ask, at the end, what the jury was allowed to know and what the rooms already knew. Those are different piles. The decade's more famous courtroom hours snap the case shut with a witness who breaks. This one is more honest about the gap, and less honest about whether the lawyer is a man to admire. Admire the proceeding. Decline the grin.
