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THE REWATCHABLES · July 20, 2023

And Justice For All

A 1979 drama / mystery directed by Norman Jewison, covered in the complete Rewatchables archive.

DramaMystery1970sDirected by Norman Jewison
Overall episode#318Source sheet order
Movie year19791970s
Tomatometer78%Critics’ score
Metacritic58View score
Roger Ebert3/4Original star rating
DirectorNorman JewisonDrama / Mystery

FROM THE CONVERSATION

What they said about the movie

The episode argues that And Justice for All is a major late-1970s bridge movie: a funny, chaotic courtroom satire that becomes a bleak system movie and a showcase for Pacino’s escalating performance style. The hosts praise its structure, Baltimore setting, ensemble acting, and the way it ends in despair rather than clean resolution.
Based only on this episode’s transcriptTimes approximateSpeakers were clearly identifiedExplore the connections

WHY IT WORKS

What made it rewatchable

  1. 01Pacino’s unpredictable, high-voltage performance that shifts from restrained to explosive. About 8 min
  2. 02The movie’s tonal whiplash from light comedy to corruption drama to tragedy. About 8 min
  3. 03The final courtroom breakdown and closing image deliver a devastating payoff. About 56 min
  4. 04A strong ensemble of memorable supporting players, especially Jack Warden and Jeffrey Tambor. About 32 min
  5. 05A smart, system-focused script that feels modern in its cynicism and moral complexity. About 16 min

WHAT DID NOT WORK

Their main criticisms

  1. moderateThe Christine Lahti character is underwritten and functionally symbolic. About 48 min
  2. minorThe score is effective but dated and intrusive in places. About 40 min
  3. minorThe film’s courtroom corruption reveal can feel overly explained or TV-movie-ish in spots. About 48 min · medium confidence
  4. minorSome plot threads are left unresolved, which may frustrate viewers expecting closure. About 1:12

SCENES THEY KEPT COMING BACK TO

Standout moments

Favorite

Aggie’s prison intake

The opening humiliates Aggie and immediately establishes the movie’s concern with institutional cruelty.

About 16 min
Favorite

The early, jazzy, comic stretch

The film spends about 40 minutes playing almost like a goofy workplace comedy before darkening.

About 16 min
mixed

Arthur’s confrontation with the system committee

The corruption-committee material is played as satire, but it also underlines the movie’s anti-institution thesis.

About 32 min
Favorite

The car attack after the client dies

Pacino’s destruction of the car is treated as a signature acting eruption and a turning point.

About 48 min
Favorite

The plate-throwing breakdown

Tambor’s eruption is a standout comic-to-tragic beat and a demonstration of the movie’s tonal range.

About 32 min
Favorite

The final courtroom closing

Pacino’s last speech and self-banishment in court are presented as the film’s peak scene.

About 56 min
mixed

The Chinese-food date

Used to show Arthur’s weird, sweaty romantic energy and the movie’s gross-but-human texture.

About 48 min

WHERE THEY DISAGREED

The biggest debates

They partly agreed About 8 min

Is the film really a courtroom movie or a broader system/conspiracy movie?

Sean Fennessey

It is a courtroom movie in name, but really a movie about systems and institutional failure.

Wesley Morris

It belongs with 1970s conspiracy and corruption movies more than a standard legal drama.

They agreed About 56 min

Which scene is the movie’s defining courtroom moment?

Bill Simmons

The final courtroom speech and collapse are the movie’s defining sequence.

Sean Fennessey

Agrees the ending is the most rewatchable, though he also loves other courtroom scenes.

No final agreement About 1:12

How high should Pacino’s performance rank in his career?

Bill Simmons

Ranks this performance very highly and briefly suggests it may be Pacino’s second-best.

Sean Fennessey

Says it is great but not above Dog Day Afternoon and the Godfather films.

Wesley Morris

Treats the performance as major but not a universal top-two choice.

No final agreement About 1:20

Does The Godfather contain Pacino’s best performance?

Bill Simmons

Argues Pacino’s Michael Corleone is overpraised and not a top-five Pacino performance.

Sean Fennessey

Defends Michael Corleone as a transformative, essential performance.

Wesley Morris

Pushes back against Bill and treats the take as too hot.

14 People discussedActors, directors, writers, and producers
very favorableAl PacinoBill Simmons: Praised as the movie’s center and a bridge from 70s internal acting to 80s explosive Pacino. Opening minutes favorableNorman JewisonSean Fennessey: Praised as a flexible director with no single signature style but strong taste and control. About 32 min very favorableJack WardenBill Simmons: Celebrated as a great supporting presence and the source of some of the movie’s best comic-business scenes. About 24 min favorableJeffrey TamborSean Fennessey: Praised for a huge comic-to-tragic turn, especially in the plate-throwing breakdown scene. About 32 min
mixedChristine LahtiWesley Morris: Liked as an actor, but the character is criticized as vague, symbolic, and hard to understand. About 48 min
favorableJohn ForsytheSean Fennessey: Viewed as an effective, smug, polished villain whose calm menace drives the plot. About 32 min
mixedCraig T. NelsonBill Simmons: Noted as over-the-top in his first film role, especially in the opening statement. About 32 min favorableLee StrasbergSean Fennessey: Mentioned as part of a Godfather II reunion and as a source of emotional weight in his scenes. About 32 min · medium confidencefavorableBarry LevinsonSean Fennessey: Praised, along with Valerie Curtin, for a smart screenplay that avoids obvious satirical speeches. About 32 min
favorableValerie CurtinSean Fennessey: Credited as co-writer of a script the hosts think is clever and structurally strong. About 32 min
mixedDave GrusinBill Simmons: Acknowledged as a talented composer, though the score is described as dated and distracting here. About 40 min
neutralDustin HoffmanBill Simmons: Used in a casting what-if for Kramer vs. Kramer and compared against Pacino’s range. About 24 min neutralRobert DuvallBill Simmons: Mentioned in a tangent about The Godfather and the broader Pacino discussion. About 1:20 · low confidenceneutralMarlon BrandoBill Simmons: Referenced in the Godfather performance debate as part of Michael Corleone’s challenge. About 1:20 · low confidence
12 Conversation takesSpeakers shown only where the transcript identifies them
Bill SimmonsLoved it

And Justice for All as a late-70s bridge movie

Argues the film bridges internal 70s Pacino and the more explosive Pacino persona of the 80s.

Opening minutes
Sean FennesseyLoved it

the film’s ending

Thinks the ending is powerfully hopeless and uncommon for a mainstream hit.

About 16 min
Wesley MorrisLoved it

legal-system critique

Reads the movie as a devastating system movie about corruption and human failure.

About 8 min
Bill SimmonsLoved it

Arthur’s car-attack meltdown

Treats the briefcase attack as the moment that marks the Pacino performance pivot.

About 48 min
Sean FennesseyLoved it

the final courtroom speech

Calls the final courtroom sequence the film’s most transcendent and stakes-laden moment.

About 56 min
Wesley MorrisLiked it

Norman Jewison’s direction

Argues Jewison is a director with taste and flexibility rather than an obvious signature style.

About 40 min
Bill SimmonsLoved it

the script’s structure

Says the screenplay is strong enough to let the movie keep shifting tone without collapsing.

About 16 min
Sean FennesseyLoved it

the opening prison sequence

Sees the opening as a perfect setup for the movie’s tone and institutional cruelty.

About 16 min
Bill SimmonsLiked it

Pacino versus Hoffman

Thinks Pacino was the better fit for Kramer vs. Kramer and generally prefers Pacino’s range.

About 24 min
Sean FennesseyLiked it

Norman Jewison

Credits Jewison with unusually broad genre range and strong late-career filmography.

About 40 min
Wesley MorrisLoved it

the plate-throwing breakdown

Finds Tambor’s emotional collapse astonishing because it pivots from comedy to moral panic.

About 32 min
Bill SimmonsLoved it

truth-telling versus the system

Says the film’s emotional core is the tragedy of telling the truth in a system that rejects it.

About 8 min
5 ThemesThe larger ideas in the discussion

Broken legal system

The movie is treated as a system movie about corruption, arbitrary power, and people getting crushed by procedure.

About 8 min

Post-Watergate distrust

They place the film in the late-70s mood of cynicism about institutions and truth-tellers.

About 24 min

Humanity versus procedure

Arthur’s tragedy is that he believes in people and justice, but the system punishes honesty and compassion.

About 1:04

Performance escalation

Many cast members intensify their acting to match Pacino, creating a live-wire ensemble effect.

About 32 min

Balancing comedy and tragedy

The film is admired for holding goofy, funny stretches next to bleak moral collapse without losing control.

About 16 min
22 Facts and referencesProduction notes and other movies mentioned

Production note

Pacino was reportedly supposed to be in Kramer vs. Kramer before choosing this movie.

About 24 min

Production note

The movie won its $4 million budget back many times over, grossing about $33 million.

About 40 min

Production note

Norman Jewison received the Irving G. Thalberg Memorial Award despite never winning Best Director.

About 40 min

Production note

The film’s famous “You’re out of order” quote is misremembered in popular culture.

About 8 min

Production note

Pacino reportedly improvised a lot, and Lee Strasberg told him to learn his lines.

About 40 min

Production note

The opening prison shot with a character’s pants urine is treated as a tiny but unforgettable detail.

About 16 min

Production note

The movie was shot in Baltimore and uses the city prominently, including the Inner Harbor area.

About 56 min

The Verdict

Mentioned as a previous episode that also featured Jack Warden.

About 24 min

Primal Fear

Used as another courtroom-month comparison and as a black-judge example.

About 32 min

A Time to Kill

Used as a comparison point for courtroom-movie judges and legal melodrama.

About 32 min

The Wire

Compared to the movie’s Baltimore systems-and-corruption worldview.

About 8 min

All the President’s Men

Cited as part of the 1970s conspiracy/system movie ecosystem.

About 8 min

Three Days of the Condor

Used to describe the era’s distrust of power and institutions.

About 8 min

Network

Named as another movie about corrupt institutions and public truth-telling.

About 8 min

China Syndrome

Referenced as an Oscar rival and another example of 70s system critique.

About 24 min

Kramer vs. Kramer

Used as the alternate Pacino casting example and an awards comparison.

About 24 min

Dog Day Afternoon

Used repeatedly as a Pacino comparison and ranking benchmark.

Opening minutes

The Godfather

Central to a long Pacino-ranking argument.

About 1:20

The Godfather Part II

Used as Pacino’s benchmark performance and as a Godfather comparison.

About 1:20

A Few Good Men

Cited as another top courtroom-meltdown movie.

About 48 min

Legally Blonde

Mentioned as a favorite courtroom-defense movie with a memorable scene.

About 48 min

Rollerball

Referenced during the Norman Jewison career discussion.

About 40 min
11 Running jokes and short linesRecurring bits captured from the conversation

Courtroom Month / legal-system despair

The hosts repeatedly riff on the state of the legal system and the bleakness of courtroom-month movies.

Opening minutes

Al Pacino career ranking arguments

The episode keeps returning to where this performance sits relative to Pacino’s filmography.

Opening minutes

Baltimore as a Barry Levinson universe

They keep connecting this film to later Baltimore-set Levinson work like Homicide and The Wire.

About 8 min

Black-judge trope discussion

The hosts joke about how often courtroom movies use black judges as a low-effort authority figure.

About 32 min

Letterboxd / star-rating banter

The hosts joke about rating systems, star counts, and Letterboxd culture.

About 40 min

Food and seduction jokes

Pacino eating Chinese food on a date becomes a recurring gross-out joke.

About 48 min

Bill Simmons

“You're out of order”
About 8 min

Sean Fennessey

“the system’s failure to work”
About 8 min

Bill Simmons

“Just let him cook”
Opening minutes

Bill Simmons

“This is the version of Al Pacino acting”
About 48 min

Sean Fennessey

“the last honest man”
About 16 min

MAKE IT A MOVIE NIGHT

Where to watch

UNITED STATES

Checking where And Justice For All is available…

WHAT TO WATCH NEXT

Movies to watch before and after.

Three movies to watch before And Justice For All, and three to watch next.

Finding six movies…Three to watch first and three to watch next.
Includes a Rewatchables episodePosters from TMDB.

ON THE MIC

3 voices on this episode

Bill Simmons headshotBill SimmonsThe Rewatchables
Sean Fennessey headshotSean FennesseyThe Rewatchables
Wesley MorrisThe Rewatchables

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