hief Deputy Prosecutor Rozat “Rusty” Sabich (Harrison Ford) has a loving but marginally neglected wife (Bonnie Bedelia as Barbara), a quick-witted young son, a respectable career, and a supportive boss in county official Raymond Horgan (Brian Dennehy). But one morning, he receives a hand-written note from fellow prosecuting attorney Carolyn Polhemus (Greta Scacchi), which reads “Stop it I know it’s you!” At first, he’s unfazed – until Raymond informs him that Carolyn was murdered the night before, bound up and likely raped, then beaten to death. No signs of forced entry were present, and it appears as if she had a glass of beer with someone that night, beforehand. Rusty is put in charge, against his wishes, which prompts him to burn the letter.

As it turns out, Rusty previously had an affair with Carolyn – an event that Barbara is aware of, and therefore isn’t thrilled that he’s now leading the case. Although Rusty clearly still harbors secrets about the relationship, he’s not initially too concerned with the details – until phone records, blood type, fingerprints, a missing file, and various pieces of evidence start to look incriminating against Rusty himself. “I think it’s a setup.”

Politics puts additional pressures on the case, but it’s curious how much detective work is seemingly conducted by Sabich himself; he relies on policemen to dig a little deeper with reports and paperwork, yet he reviews crime scene photos and autopsy information, while also doing his own interviews with parties of interest. He’s involved in every step of the investigation. But since the victim is dead within the first few minutes of the film, extensive flashbacks are required to visualize Rusty’s affair, to demonstrate the extent and poignancy of their connection – and his obsession. The premise becomes a reflection on mistakes and regrets, an in-depth character study, as much as a legal drama.

Directed by Alan J. Pakula, based on the Scott Turow novel, “Presumed Innocent” moves slowly but assuredly, adding complication after complication, building up well-developed personas for a climactic courtroom showdown. Fascinatingly, it spends enough time dissecting all of the components of the crime and its prosecution that it feels comprehensive; it doesn’t skip over major elements for the sake of cinematic artistry. And its skilled scrutiny is made more believable because of Rusty’s profession; he’s able to analyze the various scenarios from a disassociated, objective standpoint, shedding light on potential motives and reasonings. In the eventual testimony and cross-examination sequences, the unfolding information is absolutely electrifying.

As inquisitive, prodding, gentle piano music by John Williams presides over the musings and revelations, the picture boasts superb acting all around, not just from the leads but also from the supporting roles, including Raul Julia (as a defense attorney), Paul Winfield (as the judge), and John Spencer (as a police detective). Their performances, full of emotion, nuance, and idiosyncrasies, are simply outstanding. By the twisty, slow-burn finale, as every angle of the murder case – complete with evidentiary errors and medical surprises – is picked apart, the notion that Sabich’s innocence isn’t a crucial bit of information becomes quite thought-provoking. Or, perhaps, downright devastating. Like in the film noir “In a Lonely Place,” judicial inculpability feels irrelevant if the accused is entirely capable of the crime.

– Mike Massie