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Primal Fear

The book Primal Fear was made into the movie Primal Fear.

Which one did you like better, the book or the movie?  There are 7 votes for the book, and 4 votes for the movie.

Book details for Primal Fear

Primal Fear was written by William Diehl. The book was published in 1993 by Ballantine Books. More information on the book is available on Amazon.com.

William Diehl also wrote Sharky's Machine (1978).

  

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In Chicago, a sainted archbishop is murdered, mutilated, and dismembered in his rectory. Aaron Stampler, an angelic-looking young man, is found crouched in a confessional, covered with blood, clutching a butcher's knife, swearing his innocence. Martin V... Read More
In Chicago, a sainted archbishop is murdered, mutilated, and dismembered in his rectory. Aaron Stampler, an angelic-looking young man, is found crouched in a confessional, covered with blood, clutching a butcher's knife, swearing his innocence.

Martin Vail is the brilliant lawyer every prosecutor and politician loves to hate. It is up to him to defend Stampler, the young human monster. But first he must uncover the horrifying truth about the crime.

Movie details for Primal Fear

The movie was released in 1996 and directed by Gregory Hoblit. Primal Fear was produced by Paramount. More information on the movie is available on Amazon.com and also IMDb.

Actors on this movie include Richard Gere, Laura Linney, Edward Norton, John Mahoney, Frances McDormand, Alfre Woodard, Terry O'Quinn, Andre Braugher, Steven Bauer, Joe Spano, Tony Plana, Stanley Anderson, Maura Tierney, Jon Seda, Reg Rogers, Kenneth Tigar, Brian Reddy, Christopher Carroll, Wendy Cutler and Ron O.J. Parson.

 

Read More About This Movie

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edwa... Read More
Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon