Verdict, The (1982)

Verdict, The (1982)

“There are no other cases; this is the case.”

An ambulance-chasing lawyer (Paul Newman) is hired by the sister (Roxanne Hart) and brother-in-law (James Handy) of a woman put into an irreversible coma during childbirth after being given incorrect anesthesia by an attending doctor (Wesley Addy). Newman refuses to take the generous settlement offered by the head (James Mason) of the hospital’s representing firm, instead relying on the assistance of his mentor (Jack Warden) and his new love interest (Charlotte Rampling) to take the case to court — despite the overt disapproval of the presiding judge (Milo O’Shea).

Genres, Themes, Actors, and Directors:

  • Character Arc
  • Charlotte Rampling Films
  • Corruption
  • Courtroom Drama
  • Has-Beens
  • James Mason Films
  • Lawyers
  • Paul Newman Films
  • Sidney Lumet Films

Paul Newman gives a stand-out performance in this Sidney Lumet-directed character study about a seemingly lost-cause alcoholic who has all but given up on his career, only to find himself revived by a “last chance” case. David Mamet’s screenplay keeps us deeply invested in this likable but sad-sack man who continually makes questionable choices in both his personal and professional lives. When he refuses Mason’s settlement without consulting his clients, we suddenly realize our allegiance has been skewed towards him and his interests rather than the case he’s taken on — at which point we’re joltingly reminded of his imperfections, and given a broad hint at the impetuousness that likely landed him in his current situation. The entire cast is spot-on, from Newman’s arch-rival Mason, to bushy-browed Irish O’Shea, to the inscrutable Rampling. Because this is a “Mamet story”, one major character turns out to be not-who-they-seem, and others — all nuanced — demonstrate unexpected sides of themselves. Sidney Lumet’s direction is a marvel of deliberately paced, strategically framed scenes, without quick editing or too many close-ups. We witness scenes taking place in Newman’s apartment, at a local bar, in the courtroom, and on the streets of Boston; as usual, Lumet makes excellent use of all settings, and is ably assisted by DP Andrzej Bartkowiak (who worked with him on Prince of the City the previous year). In sum, this is one of Lumet’s best, and an all-around “great show”.

Redeeming Qualities and Moments:

  • Paul Newman as Frank Galvin (nominated by Peary as one of the Best Actors of the Year in his Alternate Oscars)
  • James Mason as Ed Concannon
  • Fine supporting performances

  • Andrzej Bartkowiak’s cinematography

  • Lumet’s accomplished direction
  • Excellent use of Boston locales
  • David Mamet’s screenplay

Must See?
Yes, as a true “modern” classic. Listed as a Personal Recommendation in the back of Peary’s book.


  • Genuine Classic
  • Noteworthy Performance(s)
  • Oscar Winner or Nominee


One thought on “Verdict, The (1982)

  1. A no-brainer must-see as an all-around “great show” (as noted) – but mainly for the performances in general, Newman’s performance in particular, and for Lumet’s direction.

    This is a film that I return to from time to time, usually when I’m in the mood to be reminded of good, solid drama involving ‘the underdog who comes out on top’. Whenever I watch this film, it sucks me right in and keeps me there throughout.

    First and foremost, there’s Newman – and I strongly believe this is my favorite performance of his. I’ve tended to find him likable (usually) as a performer but I rarely sensed considerable range. But, in this role, he either challenged himself or Lumet challenged him – and it paid off. (What comes close to this performance, for me – though it’s not a similar role – is his understated work in Ivory’s ‘Mr. & Mrs. Bridge’.)

    As a director, Lumet is particularly good with tough, urban characters who have plenty of subtext leg-room – and, with this script, he got tons of that to pull from. So he basically gets rich work from everyone.

    Particular kudos to Mason, O’Shea and Rampling – as well as Lindsay Crouse in the somewhat-small but crucial role of Kaitlin Costello Price (the admittance nurse).

    For a Mamet script, this feels very non-Mamet. It’s based, of course, on a novel by a well-known lawyer (Barry Reed). I haven’t read the novel so I can’t speak about it but the screenplay feels more like a solid page-to-screen adaptation than anything Mamet himself came up with.

    Courtroom dramas can be among the most riveting dramas there are. And this one is among the very best of them.

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