The courtroom drama holds a large place in Anglo-Saxon culture. Other countries do not have anything quite like it. The French have their dramas with crimes of high passion, but there is a presumption that the ends will be tidied up in a matter-of-fact way by the judicial system. In continental Europe, the drama ends before the courtroom door; in Anglo-Saxon countries the drama is set there.
The Anglo-Saxon courtroom provides drama’s most important ingredient _ uncertainty. What will happen? “”How to you find the accused? Guilty or Not Guilty.” “”Do you find for the plaintiff or the defendant?” The dramatic tension comes because the audience knows the case can equally go one way or the other. And whole plot lines have been very easily built around courtroom verdicts because the truth can just as easily be something quite different from the verdict or can coincide with it. There would be no dramatic point if verdicts are routinely right. Anglo-Saxon law, therefore provides plenty of material for both the writer or film-maker of fiction and non-fiction.
All this dramatic material and entertainment would be lost if we were silly enough to change the fundamentals of our law so that it was more predictable and that verdicts coincided with the truth more often. Have no fear, when the Federal Government brings down its response this month (MARCH) to the report of the Access to Justice advisory committee, there is no danger it will do anything to take away this fruitful source of dramatic material. The masterful public-relations con job that the common law has perpetrated on Anglo-Saxon societies for more than 100 years has been far too effective for that. The greater the lie and the more often you repeat it the more likely it is to be believed. Under “”our system” it is better that 10 guilty go free than one innocent person gets convicted.
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