Of Samuel himself we see no sign, for the moment, and that matters. It foreshadows how the story will unfold. So much in “Anatomy of a Fall” is overheard, heard but not seen, seen but misunderstood, misremembered, conjured out of conjecture, or unwisely taken on trust. When we do catch sight of Samuel, he’s dead—sprawled in the snow beside the chalet, with a deep cranial wound and a trail of blood.
The prosecutor , a shaven-headed smirker, roams around snapping and snarling, and I, for one, would toss him out of a high window without a second’s hesitation. What the setting most resembles is a brasserie full of squabbling law students, and you half expect the clerk of the court to arrive with bowls of onion soup. The most telling sequence focusses on Daniel, as he stands there being quizzed, by both the defense and the prosecution, on his testimony.
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