I love this movie so much

Excellent but underrated film

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Based on the novel by legal thriller king John Grisham, 'The Chamber' deals with a hotshot young lawyer Adam (O'Donnell) who must defend his racist KKK grandfather Sam (Hackman) from the long standing death sentence for the supposed bombing of a Jewish legal firm. However, despite his grandfather's protests and nastiness, Adam suspects something bigger at work...Despite sleek direction and Hackman's stellar work as a despicable Klansman, 'The Chamber' feels like a lot of hot air. A film built around uncovering secrets and rocking the Mississippi boat wastes time on alluding to threads that are never explored, including possible corruption, political backstabbing and racial tensions, instead of focusing on the core story of a man coming to terms with his family's dark past. It's in the interactions between Sam and Adam that the film feels its sharpest, as despite their disdain, they do gradually grow closer to each other over the course of the film as both face less than pleasant aspects about their family history, and O'Donnell and Hackman work well together.When it's not there, however, the film just seems more interested in building up to nothing. There's a whole chunk devoted to a local KKK leader (played by Raymond J. Barry) that seems to imply him having some sort of influential power, and characters love going on about how Adam doesn't want to 'go digging into this', but in the end he gets taken in like a regular thug, so what was the point of making seem like the big bad? Indeed, any thread related to possible discussion of the still strong tensions among groups in the South is little more than window dressing, which is a real pity. I suspect replacing Bill Goldman with Phil Alden Robinson (credited as Chris Reese) during the writing had something to do with how choppy this script feels.Never boring, thanks to our cast (even Fray Dunaway as a ditzy Southern Belle isn't too bad) and veteran director James Foley handles tension with a sure hand, but it dramatically feels as light as the gases in the titular room.

Most reviews on this site, neglect to mention how vividly the film captures the racist politics of the American South at this time. The actions of all politicians reveals how difficult it can be to seek justice. They are always looking sideways. Also the crowd outside the execution site shows how easy it is to stir up mob emotion. Again, nicely laid out and captured on film. The film visually translated Grishelm's understanding of Southern culture and politics. I also thought Chris O'Donnell captured the intensity of someone who is confronting his family's past. The camera work, which holds on his face, assists in helping us to see the quiet determination with which he works. (The camera is a good replacement for the interior monologue of fiction!)I also liked the flash-backs which help him to comprehend just where his father came from and why suicide might have been a response. This film is timely today in lieu of the polarization of American politics. Scary stuff!

If the title, "The Chamber", is meant to be a pun, it's a pretty good one. There's the judge's "chamber" where decisions are made, and, at the other end, the gas "chamber" where those plans are executed along with the inmate to whom those judgments were passed down.In some ways, the title is the niftiest part of the movie. For John Gresham, whose intentions are always benign, it's a pretty weak story. (It shouldn't be, with William Goldman doing the adaptation.) It's Gresham's most pedantic. Condemned are both racist violence and the death penalty, the former more so than the latter.That's the bothersome part of the plot. Okay, Gene Hackman does his best with the role of the lifetime KKK bomber who takes the rap for the real killer of the two Jewish children. But he's miscast. Hackman is not an unreflective, defiant, redneck racist and murderer. JAMES WOODS is that character. Hackman is absolutely first-rate (without being a bravura actor) when he gets the right role, whether it's villainous or heroic, but he's never been good with accents and, man, does this role call for one.At that, he gives the strongest performance in the film, with support from a couple of seasoned players like Harve Presnell. Gresham's relatively innocent young idealist, Chris O'Donnell, does not convince. He looks the part alright but his voice and gestures suggest a weakness that the character shouldn't have. And he's the main man. Some of the supporting players, like Bo Jackson as Sergeant Packer, can't seem to act at all.The climax involves one of those detailed execution scenes I've come to loathe. I don't understand why they're there. In a short cinematic exercise in the early 1940s, Orson Welles used the first-person camera to guide the viewer into a gas chamber. Then, in the mid-50s, there was a detailed execution of Susan Hayward in "I Want to Live." Then there was a hiatus for another twenty years or so before these tasteless scenes came back with a vengeance. Here we get to see Gene Hackman gassed to death, the foamy spittle dripping from his mouth as he expires. But what does this tell us? That execution is horrifying and painful? What else is new? So what do these scenes tell us that we don't already know? I understand some TV channels are negotiating with Texas to film executions for broadcast. (How long before the opportunity to pull the switch is auctioned on eBay?) What kind of audience do the writers and directors think they're addressing? The musical score is by Carter Burwell and it's fairly conventional, full of deep and ominous chords. He's a talented composer who has done quirkier work in better films like "Fargo" and "The Spanish Prisoner." Judging from the movies that are based on his novels, John Gresham is in the not-uncommon position of being at odds with the values of the society he grew up in. A lot of other marginalized writers have also been prompted to explain the sins of their culture's past to the rest of us, beginning maybe with Nathaniel Hawthorne and running through the Southern giants of American literature and playwriting -- Tennessee Williams, Faulkner, and the rest. Gresham fits the mold and his work is interesting, but this is a failed effort. The legal aspects are confusing, the characters a bit muddled, and the story itself either too simple or too complex, depending on how you look at it.

Idealistic attorney Chris O'Donnell (as Adam Hall) goes down to Mississippi, to take on the "death row clemency case of his onetime Klansman grandfather" Gene Hackman (as Sam Cayhall). "With just 28 days before the execution, Adam sets out to retrace the events leading to the crime for which Sam was convicted. As the impending death sentence looms closer, Adam works quickly to uncover the family's history for any hidden clues. In a white-knuckle series of twists and turns, Adam discovers deceptions and dark secrets that ultimately lead him to the startling truth," according to the DVD sleeve's synopsis."White-knuckled"? Indeed not. "The Chamber" (as in gas chamber) starts off very well; and, Mr. Hackman's portrayal of the yellow-teethed racist is worth a look. Faye Dunaway (as Lee Cayhall Bowman) has a showy supporting role. All in all, the film's personnel portends a much better story than the one which appears on screen. Building up a romance between blue-eyed Mr. O'Donnell and brown-skinned Lela Rochon (as Nora Stark) seems like such an obvious way to improve the story (whether or not it was done in the John Grisham novel), you've got to wonder how on Earth they missed the obvious.***** The Chamber (10/11/96) James Foley ~ Chris O'Donnell, Gene Hackman, Faye Dunaway