The Verdict (1982) ***½

In Memory of Paul Newman (1925-2008)

Sydney Lumet's legal thriller features a brooding, masterful performance from Paul Newman who plays Frank Galvin, a washed up lawyer who has resorted to combing the obituaries for potential cases. He can find solace only in alcohol over his failed career despite a promising start and a partnership at a prestigious law firm. The film chronicles his decision to take on a medical malpractice case that is a guaranteed huge settlement opportunity. However, Galvin decides to try the case so that the plight of his client, who remains in a persistent vegetative state, will not be swept under the rug simply for the chance to receive a large payout. As the case moves to trial, it's far from the sure thing that was originally envisioned as a key witness disappears, the resources of the large, successful firm handling the opposing side, led by Ed Concannon (James Mason), managing to outwit Galvin at every turn and a judge who clearly favors the defendants. Galvin's the archetypal underdog that can only rely on his own intelligence, wits and best friend, Mickey Morrissey (Jack Warden), to try and win this case.

It's hard not to sympathize with Galvin as he is being constantly outmaneuvered at every turn. In the beginning, he's a hard man to like, an alcoholic with a failing practice that even his best friend wants nothing to do with. He's had a handful of cases in the past several years and he's lost all of them. He appears barely conscious throughout the first half-hour and it's only this case that wakens him from his depression-induced slumber. Originally setting out to maximize the damages he can collect from the hospital, the plight of Kaitlin Costello (Lindsay Crouse) who may never wake up from her coma and is forced to live out the remainder of her so-called life in a convalescent home moves him into action. He begins to realize the significance of the case when he's taking her picture in order to elicit pity from the opposing counsel. It's not until he sees the offer however, specifically how easily it's divided into three, one-third being his cut, that he realizes how far he has fallen and is resorting to exploitation of an unconscious woman in order to make money. The scene is shot with Galvin sitting in a chair, all alone in the frame, as the camera slowly pans in and it's here that the audience finally connects with Gavlin, as they are drawn to him, matching the camera movement.

As a legal thriller there are some general holes in the plot which are plot necessities in order for the story to take the route it needs to get to the ending warranted by the script. For one, Judge Hoyle's (Milo O'Shea) blatant bias against Galvin's case is a little difficult to reconcile. The scene where Judge Hoyle begins his own questioning of the expert witness and dismisses him without giving the testimony needed to make Galvin's case seems quite unrealistic. It's more believable behind closed door when it's just the attorneys, such as when he tells Galvin to take the deal or later when Judge Hoyle states he has no sympathy for Galvin when asked for a continuance. But that display in the court room is unjustifiable and opens the door for a gross judicial misconduct charge. It's hard to understand why the judge would act this way other than to throw further obstacles into Galvin's path. The ending is also a bit hard to swallow as the verdict that comes in does little to reflect the sentiment of the trial. It does provide one of the best shots, as the camera swoops in over the jury box into a close-up of Galvin's reaction. These issues are minor however as the trial is largely just a backdrop for the character evolution of Frank Galvin.

The evolution of the plot follows the return to form for Frank Galvin who essentially is forced to learn how to be a lawyer again. Once it is seen that he is the only who cares for making the men responsible for Kaitlin Costello's condition pay, and not just in monetary terms, he evolves into a more identifiable character. Later Mickey relates to Laura Fischer (Charlotte Rampling) exactly how Frank arrived at this lowly state. It is here that it is learned that Frank is not just a deadbeat who allowed his drinking problem to ruin his life, which up to this point can only be assumed what happened. It turns out that his circumstances are of a more a tragic origin. He refused to go along with the shady and illegal dealings of the firm where he was partner and was forced to resign, after spending some time in jail on false charges. He lost his wife and began to drink due to the death of his promising career. Through this tale, it is now known that Frank is a good man that refused to compromise his ethics and lost everything as a result. This new case isn't so much about redemption, since he is not a man fallen from grace, but rather a chance to prove that he is as strong a legal force now that he was then. He's disgusted by the hospital administrators and their horde of lawyers using the same dishonest methods to cover up their own mistakes that he refused to go along with before. It's a second chance to take on those that have ruined him and now seek to do the same with complete disregard for Kaitlin Costello's welfare. It becomes his own personal obsession and he presses on even when given multiple opportunities to withdraw.

Paul Newman received a much a deserved Oscar nomination, his sixth, for his silently suffering portrayal of Frank Galvin. Lumet spends a great deal of time showing the audience Newman's face, where he can convey his emotional state more clearly than any monologue could ever hope to match. Jack Warden is also a delight, as the only person Galvin can trust and the two share a great deal of chemistry and camaraderie in their scenes together. James Mason as "The Prince of Darkness" manages to balance the line between good and evil and lands his performance squarely in the grey area necessary for the character. He's never truly sinister or despicable, but he is Galvin's opposite and quite willing to engage in the shady practices that Galvin himself abhors so much. It would have been all too easy to paint Concannon is a strictly negative light, but rather here he's presented as a hired hand, an excellent lawyer who is tasked with defending his client, no matter who it may be. He's certainly an expert in the legal profession and is in the unfortunate position to have been given this case. The Verdict will be best remembered for the soft, nuanced performances of its superb cast and the slick execution of the script that moves along at a gripping pace.

Favorite moment: Discovering that his lover Lauren is a spy for Concannon's legal team, he goes to their pre-arranged meeting place and after a few seconds of awkward silence, where Lauren realizes that Galvin knows of her betrayal, it comes to a shocking conclusion with him punching her in the face. Both an unsettling and satisfying end to their relationship, the filmmakers should be credited with the courage to have their lead character, who has already redeemed himself in the hearts of the audience, commit such a polarizing and brutal act against a woman. However it strengthens the connection between Galvin and the audience, if it can be forgiven, since to be honest, she sure as hell deserved it.