Nuremberg (Christian Movie Review)
Elevated by excellent writing and several outstanding acting performances, Nuremberg offers a captivating and timely exploration of the nature of evil and the men who commit evil acts.
About the Film
“What if we could dissect evil?” That is the provocative question at the heart of Nuremberg. The historical drama depicts the true events of the Nuremberg trials, a monumental international event in which defeated Nazi leaders, including Adolf Hitler’s right-hand man Hermann Göring, were put on trial before the world for their crimes against humanity. Elevated by excellent writing and several outstanding acting performances, Nuremberg offers a captivating and timely exploration of the nature of evil and the men who commit evil acts.
Many people are quick to bemoan the oversaturation of comic book films and empty spectacle in Hollywood today. Nuremberg, with a sprawling 2.5-hour runtime and an emphasis on intimate human drama, provides a welcomed counterbalance. As with recent films like Oppenheimer and Conclave, it’s an “actors talking” movie. Most of the film unfolds as a sequence of captivating conversations. Despite a relative absence of brisk action, the film’s engrossing dialogue builds ample dramatic tension. Nuremberg doesn’t quite generate the same sense of energy as those two other films (both won or were nominated for the Best Picture Academy Award, so no shame there). But despite its length and methodical pacing, I was never restless or bored.
A dialogue-driven film only works if the actors can elevate the scenes. The entire cast of Nuremberg is solid, but the primary trio of Russell Crowe, Michael Shannon, and Rami Malek are excellent. It’s a testament to the strength of the ensemble cast that no single character steals the movie, and the film never loses momentum when it switches between storylines. Of the trio, Crowe arguably delivers the standout performance, adding delicate nuance to the character of Hermann Göring (Hitler’s right-hand man) by finding humanity in a man who was unquestionably a moral monster.
The film is also a showcase in excellent writing. The dialogue is crisp and interesting, even managing to find humor amid its serious subject matter (Michael Shannon’s dry delivery is superb). Other than a more direct “call to action” in the final scene, most of the film’s dialogue is raw and lingers with unresolved tension. A scene in which Robert H. Jackson (Michael Shannon) visits the Pope to ask for the church’s support in the trials is a perfect example. The exchange between the men doesn’t leave either as the clear winner. The writing makes a strong case for the superiority of a Christian worldview and the flaws of Jackson’s atheistic perspective (more on that below), even as Jackson lands a weighty blow about the hypocrisy and inconsistency of the church. It’s rare for Hollywood films to explore philosophical and theological clashes between worldviews without filmmakers putting their own thumb down to tip the scale.
Nuremberg is a historical drama that has a timely message for today’s audiences. The movie ends with a quote from RG Collingwood, “The only clue to what man can do is what man has done.” Antisemitism is on the rise in America once again, and the film’s closing scene—an impassioned monologue from Malek’s character—frames the film as a warning and call to action. The film doesn’t pull any punches in making audiences confront the atrocities committed against the Jewish people, just as the characters in the trial must confront them. The original videos depicting the horrors of the concentration camps that were played during the real trials are included in the film, unedited and unembellished. The footage is horrific to watch and creates a profound moment in which the line between fiction and reality blurs.
Overall, Nuremberg may not have enough of the dynastism of Oppenheimer or the cinematic beauty of Conclave to break into the Academy Awards conversation. But whether it earns shiny trophies or not, Nuremberg is easily one of the best films of the year. It reminds audiences that flashy action and recognizable IP branding aren’t required in order for audiences to experience a gripping, emotionally rich story. Nuremberg depicts humanity at its worst, but it also compels viewers to rise up and fight for a more beautiful tomorrow.
For Consideration
On the Surface—(Profanity, Sexual content, violence, etc.).
Language: There are around 15 profanities (“s—”, “h—”, b—”), including 5 uses of “J— C—” and 3 of “G— d—.”
Violence: Several dead bodies are visible after suicide (a man has a rope around his neck and cloth in his mouth, another has taken a cyanide pill). Several men are executed by hanging (their dangling legs are shown, and they urinate through their pants). The most visceral violence is depicted in the real footage from the concentration camps. Countless dead or dying bodies are shown (many of them naked).
Sexuality: There are brief moments of male nudity in the concentration camp footage, although it is not shown in a sexual manner. A man makes one allusion to rape, and when asked to tell a doctor what a series of pictures looks like, another man repeatedly answers, “a vagina.”
Engage The Film
Sinful Human Nature
Much of the film focuses on characters trying to come to grips with the evil acts committed by the Nazi regime. Early on, Malek’s psychologist character muses, “What sets these men apart from all others? What enabled them to commit the crimes that they did? How did people become like that? We actually have a shot to figure that out. To find out what makes the Germans different […] from us.” But what if the difference between them and the Nazis is not as wide as they assume?
Later, Robert H. Jackson (Michael Shannon), declares, “Before the bullets started flying; before millions of people died. All of this started with laws. This war ends in a courtroom.” To him, evil is a matter of law and political policy. Thus, evil must be confronted in the courthouse. During his encounter with the Pope, these assumptions are challenged. The Pope notes, “Nobody denies the men are evil. But an eye for an eye is not the answer.” He goes on to say, “Are you a religious man? And yet you call yourself a justice. If you sit long enough in judgment of others, you come to believe the laws of man outweigh the laws of God.”
When pressed for what he does believe, Jackson responds, “I believe in man. In our capacity to save ourselves from men like the Nazis. I believe this to be a good act.” The Pope counters, “One so good you must circumvent your own law to achieve it.”
Despite being a courtroom drama, Nuremberg suggests that man-made laws are not the ultimate answer to overcoming evil. After all, if men are innately evil, the people who make and enforce the laws are evil too. The film has a clear message that individuals—and society as a whole— should stand against manifestations of evil. But it also exposes the impossibility of success using this earthly approach.
In this way, the film is consistent with a Christian worldview. The Bible is clear that we are called to fight injustice and to defend the vulnerable. At the same time, if evil is fundamentally a spiritual problem, then only a perfect spiritual being can offer the ultimate justice: “There is only one Lawgiver and Judge, the One who is able to save and destroy. But who are you to judge your neighbor?” (James 4:12).
At the end of the film, Douglas Kelley (Rami Malek) finally concludes of his time with Göring, “I spent thousands of hours with him; ran hundreds of tests. Do you know what sets him apart from us? Nothing.” The horrors committed by the Nazis were heinous and unfathomable. Yet Scripture is clear that “all have sinned and fall short of the glory of God” (Romans 3:23).
