This British work - a triumphant drama of the struggle for justice, but a miserable commercial failure, has none of the usual allures - no violence, no overt action, and a love interest that is scarcely hinted at; its qualities are nobility of theme, a first-rate script, excellent performances, and a truly wonderful one by Robert Donat. The Winslow boy is expelled from school for a crime he did not commit, and the boy's father - determined to fight the accusation - approaches an aristocratic attorney (Robert Donat) to take the case. In the most remarkable scene of its kind we know, Donat - before consenting to plead his case - cross-examines the boy to assure himself of his innocence. (This is not the law Daumier satirized, but - as we achingly become aware - as it should be practiced.) Convinced he is on the side of justice, Donat proceeds to vindicate the boy. That uneven, but occasionally marvellous, director, Anthony Asquith - the son of a British lord - is at the top of his form. From the vantage point of his background, the subject must have been close to him.