Bonnie Bodelia portrays the loving understanding supportive wife that most married women outwardly deem to suggest they are. Underneath she hides the feelings of betrayal and sense of uselessness that a woman cheated on really feels. This feeling is so overwhelming that she is prepared to see the man she loves convicted of murder in order to save her marriage and take her revenge on her husbands infidelities. Harrison Ford plays his part so well. He is intense and lost. As in most of his films he lumbers through his role sometimes almost with an innocence of a new actor in his debut part. In fact Ford is brilliant. Greta Scaachi plays the victim in keeping with her record of playing nude scenes in most if not all films she had been in. Am not sure if these scenes were necessary since the story is told in flashbacks so the sexual scenes could easily have been left out but recounted verbally by Harrison Ford whilst giving his evidence. The story keeps you guessing - you know Ford is innocent but as there is no obvious other suspect you are forced to look for the real killer. This is very cleverly hidden until very near the end when the identity of the real murderer is revealed. Almost like a Hitchcock suspense thriller or an episode of Tales Of The Unexpected. The twist to the story makes this film rivetting.
Pakula and Frank Pierson faced a difficult task in adapting Scott Turow's novel. The dense, first-person narrative - told from the perspective of an alleged murderer - has been simplified and tightened, its psychological subtleties jettisoned, the emphasis shifted to legal and forensic investigation. Rusty Sabich (Ford) is a prosecuting attorney whose life is thrown into turmoil after a colleague (Scacchi) is raped and murdered. They had enjoyed a brief affair, and suspicion falls on Sabich, who finds himself hiring a defence attorney (Julia). Even stripped down, the plot provides suspense and intellectual fascination, but the film quickly runs into problems of characterisation. In Turow's novel, the victim is viewed from Sabich's vantage point; here, the emotional distortion has been lost, and her role is merely functional. To a lesser degree, Sabich also loses in the translation, but he's given dimension via his relationship with his tormented, mathematician wife (Bedelia, excellent) and through Ford's earnest intensity. In a welcome return to suspense, Pakula effectively conveys the claustrophobia of domesticity and courtroom procedure.