In many respects, I thought this was a movie that was far ahead of its time. In some ways, it's a psychological study of why some people turn to evil without any apparent remorse. It's also an anti-capital punishment argument in a time when capital punishment was both accepted and non-controversial. It deals with subject matters that I wouldn't normally expect to see in a movie of this era, and it's a very taut psychological thriller that wouldn't bore anyone.

Dean Stockwell, in my opinion, was the clear highlight of the film. He offered an amazing portrayal of Judd Steiner, the seemingly emotionless one of the murderous duo (the other was Bradford Dillman as Arthur Strauss.) Steiner and Strauss are basically rich, spoiled kids who decide to take up killing for the fun and excitement involved. The movie revolves around the investigation into the murder of a young boy, and then the trial of the two. Stockwell and Dillman made an interesting combination. In the beginning, Strauss is portrayed as the one in charge, with Steiner uncertain and nervous. By the end, Steiner is transformed into a hard as nails and cold as ice monster. The evolution of that relationship is fascinating.

There were aspects of the story that didn't work for me. Ruth (Diane Varsi) came across as far too forgiving of Judd after her encounter with him, and frankly, the rather long-winded speech by Orson Welles (playing attorney Jonathon Wilk) to the judge at the end of the movie was too long-winded, even though I agreed with some of it. (Modern studies of capital punishment would call into question Wilk's statement that only rich kids would die for this kind of crime; in fact, it's overwhelmingly the poor who are sentenced to death.) I thought the movie also opened with a musical score and what we would call today fonts for the credits that were entirely inappropriate, and which seemed to almost set this up as some sort of comedy. It's not. It's deadly serious, and very good. 7/10

Leopold was paroled after years of being a model prisoner, planning all kinds of prison reforms, and when released did philanthropic work in Puerto Rico. Interesting that Meyer Levin, author of book on which this film is based said, this amazingly redeemed man just a few times gave Levin a chill as it became clear that this character of 'St. Leopold' was just another creation of a true psychopath. The mocking narcissistic smirk was still there under it all.