Sergeant Ryker (1968)

Superior courtroom drama set near the end of the Korean War. An Army sergeant named Ryker (Marvin) is sent by his commanding officer behind enemy lines, posing as a defector. The sergeant is eventually captured by Allied forces and jailed as a traitor. He is to be executed. His one possible alibi, that commanding officer, is now dead. A captain (Dillman) is convinced of Ryker's story, and convinces a general (Nolan) to let the Army retry Ryker, with the captain serving as his defense attorney. Great cast, including Peter Graves as a major itching to see Ryker hanged, and Murray Hamilton as a cynical officer who is convinced nothing can save Ryker. The courtroom scenes are suspenseful, and this two-part Kraft Suspense Theatre show was wisely turned into a theatrical release several years later.

The release of "Seargant Ryker" on tape was beautifully timed to take advantage of Lee Marvin's 'discovery' after 25 years of character acting. There was a brief shining moment when he won an Oscar, top billing and much better parts. However, this movie is a cobbled-together version of a two-part television drama. This drama originally served as the pilot for the series "Court Martial" which predated "JAG" by a few years. (When 'Court Martial hit the air, it was moved to WWII England, as opposed to the Korean War locale of "Ryker.") A few combat sequences were tacked on to "Ryker" make it look like an action film, which it isn't. It's a talky courtroom drama - but some of the talk is first-rate, as is BradfordDillman's performance as the reluctant defender. He's the one that's on screen most of the time, holding the plot together with the strength of baling wire. Vera Miles was always a competent actress, but never a star; she exuded a likable prettiness. If I sound mild about Miles, it's because she never moved me much. Dillman, on the other hand, did - he labored under a terrible handicap in the movies:he couldn't hide the fact that he had been to school, knew which fork to use, and was obviously bright. He was a better-than-good actor (see the underrated "Circle of Deception") and is definitely worth watching here.

Engaging, riveting tale of captured US army turncoat who has to prove his innocence to avoid the hangman. Paul Ryker dodges friendly fire in a seemingly doomed attempt to convince a military court that he was actually a US spy on a secret mission in Korea. In the vein of classic courtroom dramas, "Sergeant Ryker" is an extremely well crafted mystery, ably guided by an outstanding cast, director Kulik's constant momentum, and effective plot twists and turns.This film was originally made as a television movie in 1964, and subsequently beefed up for this revision with the presence of many "name" actors, and some action sequences. Dillman, reprising his role, is spot-on as the doubting defence attorney, whose attentions sometimes stray to the personal plight of Ryker's supportive, yet somewhat distant wife, played with aplomb by Vera Miles. Rounding out the frontline is Peter Graves for the prosecution, and Norman Fell and Murray Hamilton in key supporting roles.Marvin's interpretation of the Paul Ryker character is a balanced depiction of a simple but dedicated man whose normally laid back demeanour is challenged by the desperate circumstances in which he's placed. Marvin switches perfectly from resigned indifference, to impassioned denial of the charges, giving a convincing, often intense performance that is the highlight of this otherwise small-scale drama. It's this performance that should elevate the film to a platform where it occupies a place on the best-ever lists of courtroom dramas.However, despite its apparent obscurity, "Sergeant Ryker" still remains a taut and compelling examination, like a book that you just can't put down. Highly recommended.

In this legal drama -- not unlike Anatomy of a Murder, A Few Good Men, and Compulsion -- ambiguity permeates the courtroom like humidity in August -- in Florida. Who's right? Who's wrong? No one can tell, yet decisions have to be made. Peppering the proceedings with plot twists and flashbacks that recall film noir and Sergio Leone, the story maintains a quick pace that overcomes its clearly low cost shooting budget. Lee Marvin burns brightest in the film's constellation of great character actors (like Peter Graves, Murray Hamilton, and Norman Fell), largely because of The Big Gray One's tendency to switch from calm menace to scary violence, on a dime. Jaded critics bang and hack at Sgt. Ryker, calling it trite and stale. The film doesn't warrant this sort of hostility. It is simple, direct, and powerful. Who cares if it isn't a re-invention of a very old sort of wheel?