The Verdict (1982)

The structure of The Verdict could not be more conventional. Paul Newman plays an ambulance chasing lawyer whose once promising career is far in the past.  A semi-functioning alcoholic, he hangs on to a few final threads of dignity. Offered a promising medical malpractice case, Newman's character sees the chance for an excellent payday. However after seeing the victim's injuries, he turned down a generous settlement offer chooses to fight for the victim and his own redemption. From here the story plays out exactly as one would expect. From finding a beautiful love interest who supports and encourages him, to the various setbacks in the case, to the rousing, high-minded closing argument the film follows every element of the standard courtroom drama.

Although its core is entirely ordinary, the execution makes this film special. Newman, with his blue eyes staring out of the stubbled face, brings depth and nuance to his character’s struggle for redemption.  The script by David Mamet features hard, sharp dialogue that conveys the ideas that would be in any ordinary courtroom drama presents them more directly and with more feeling. Sidney Lumet's direction likewise takes what could simply be ordinary and, without being showy, brings a sure touch that brings the richness and tensions out of each scene.  

One small, telling moment that captures the difference between a well crafted film like this and standard films churned out by studios occurs toward the end of the film when Newman's partner tells him a key piece of information.  As viewers we already know what he will be told so rather than having us listen to the conversation, Lumet shoots the scene outside on a busy New York street, placing the camera high above the two characters. We hear only the ambient sounds of traffic and not what the two men below say.  Instead we watch Newman's reaction which is all we need to see.  We focus on the emotional impact of the revelation without being subjected to hearing the information repeated.  This type of clever filmmaking shows that with talented artists like Newman, Mamet, and Lumet even utterly conventional material can be made in to an excellent film.