Cast:
Paul Newman (Frank Galvin), Charlotte Rampling (Laura Fischer), Jack Warden (Mickey Morrissey), James Mason (Ed Concannon), Milo O'Shea (Judge Hoyle), Lindsay Crouse (Kaitlin Costello Price), Edward Binns (Bishop Brophy), Julie Bovasso (Maureen Rooney), Roxanne Hart (Sally Doneghy), James Handy (Kevin Doneghy), Wesley Addy (Dr. Towler), Joe Seneca (Dr. Thompson), and Lewis J. Stadlen (Dr. Gruber) Directed by Sidney Lumet (#035 - 12 Angry Men, #036 - Network, #404 - The Anderson Tapes, #1065 - Deathtrap, #1446 - Murder on the Orient Express, #1450 - Dog Day Afternoon, #1545 - Before the Devil Knows You're Dead)
Review:
A combination of a director known for his crafting of actors into diverting character dramas and a powerhouse star and script surely would work out for a fair classic, you might say. The movie is an adaptation of the 1980 novel of the same name by Barry Reed. In addition to writing for American Bar Association Journal alongside novels, Reed had his own legal practice in Boston, Massachusetts and he had a reputation for specializing in medical malpractice, personal injury, and civil litigation. Interestingly, one of his proteges was Jan Schlichtmann, a lawyer noted for his own case that became a book and film about a lawyer taking on a big name (in this case, two companies sued for leukemia deaths), which you might know as A Civil Action (1998). Right before publication of The Verdict, producers David Brown and Richard D. Zanuck purchased the film rights. The two hired David Mamet to write a screenplay based on the book. By this point, Mamet was noted for his array of off-Broadway plays in the 1970s such as American Buffalo. The first produced screenplay by Mamet was the 1981 adaptation of The Postman Always Rings Twice. It shouldn't be too surprising that there were numerous choices for directors and main stars: James Bridges was the initial choice for director and Robert Redford was the first-pick star, but when Bridges became busy with Urban Cowboy (1980), the producers went with Arthur Hiller as the potential director...before a disagreement with Mamet saw him depart (of course, Zanuck wasn't particularly big on the ending of the original script, which ended before the jury came back with the verdict). Jay Presson Allen came in to try and deliver a new script, and when Bridges had time at last to do a project, he also seeped his fingers into writing for the film, but it all went for naught when Redford and Bridges had disagreements over the nature of the main character (Redford irked at the idea of playing the character with the flaws as written). Not long after, Lumet was asked to do the film, and he elected to go back to the original Mamet script, complete with Paul Newman as star.
Admittedly, the legal aspects of the film aren't completely on the level, as I suspected from a cursory bout of research. For the record, if you are suing a hospital and they offer you a settlement, your lawyer cannot simply reject the offer (without even consulting the clients), and the opposing council doesn't go around telling the client about offers either. But I suppose if you can buy a film that hinges its big finish on having the jurors challenge their doubts in their beliefs, institutions, and the law itself, you can do almost anything. But the movie as a whole is pleasant as a stone-cold thriller of possible redemption as baptism by fire, utilizing its 129 minutes to general effectiveness. It relies heavily on the performance of Newman, in his only appearance in a feature film with Lumet as director. He pulls off a great performance, plundering the depths of redemption in an understated and powerful manner that never blusters or hits a false note from start to finish, one where burying the case is not the end of his own road. Sure, one could put the highlight as the last scene in the courthouse or even the final shot with a rejected call, but the best one might be a sequence where Newman is taking photos of his client (a comatose victim) before he processes what he is doing when the photo is developing and snaps himself to action without having to say a word. It isn't so much as chewing the scenery as it is just a case of a damn good actor being accompanied by pretty decent support in the cast besides him. Rampling makes a quality counterpart to Newman, since each are wayward spirits to begin with, and the last sequence where they share time together (i.e., not just stare at each other) is quite effective in its shock, while Warden accompanies Newman as the long-suffering lawyer pal in useful character presence. Mason (in the twilight of his career) is the ideal foil to Newman, bringing dignity to a role of slime, which goes just as well for O'Shea in steely impatience. As a whole, it is more of a thriller of the lead character rather than a straight-boiled court drama, which results in a slow burn experience that ultimately shows Lumet and Newman in their proper environments: rehearsed excellence, one that has endured well for itself after four decades.
Overall, I give it 9 out of 10 stars.
