Primal Fear: A Filmographic Analysis Of Homicide Creative Writings Examples

How to get away with murder? That is the central theme of the 1996 film Primal Fear starring Richard Gere as a bigshot Chicago criminal attorney who decides to take on the “unwinnable” case of an altar boy Aaron, played by Edward Norton, who is accused of killing the city’s archbishop.
Homicide is one of the most complex crimes to investigate, prosecute and defend. As with any crime, homicide generally involves opposing reasons as to why it occurred. This was adequately illustrated in the film by Aaron’s explanation, on the one hand that he “blacked out” or “lost time” at the crime scene and could not remember how the archbishop died or why he was covered with his blood. On the other hand, was the police view that based on the evidence found at the scene and on Norton which proved, beyond a reasonable doubt, that Aaron was guilty.
One of the key elements to homicide is motive. Intent sets homicide apart from, for example, voluntary manslaughter. Indeed, to return a verdict of guilty for homicide, the prosecutor must show that in killing another, the defendant had “malice afterthought.” Motive was also a key part of the film’s story. Gere’s case was entirely based on showing that Aaron did not have intent to kill because he was suffering from a violent split personality by the name Roy. Gere argued that rather than Aaron being the killer, it was Roy. Roy had the intent to kill the archbishop. In short, Gere’s point was that there was a lack of intent based on Aaron/Roy being insane.
Motive is another key basic element needed to prove any crime and the film accurately illustrated how motive, or lack of it, can influence the tactics that attorneys employ to win their case. Although, there was strong evidence pointing to Aaron as the killer, it was mainly circumstantial. Gere capitalized on this by arguing that Aaron simply found the archbishop bleeding, tried to help him but panicked when he died and ran. Accordingly, the prosecutor’s main weakness in her case was explaining Aaron’s motive. She struggles with this because without a proof of motive her case against Aaron will likely fail.

References

Lucchesi, G., and Koch, H.W. (Producers), & Hoblit, G. (Director). (April 3, 1996). Primal Fear [Motion picture]. USA: Paramount Pictures.