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The Verdict (1982)
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Vue d'ensemble
Note Générale:
Réalisateur:
Scénaristes:
Date de sortie:
8 décembre 1982 (USA)
suite
Intrigue:
A lawyer sees the chance to salvage his career and self-respect by taking a medical malpractice case to trial rather than settling. full summary | add synopsis
Plot Keywords:
Récompenses:
Nominated for 5 Oscars.
Another 2 wins
&
6 nominations
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Avis des utilisateurs:
maybe not one of the very best I've seen from Lumet, but from Newman...
plus de (101 total)
Ensemble
(Vue d'ensemble du casting, par ordre d'apparence) | 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 |
| Edward Binns | ... | Bishop Brophy |
| Julie Bovasso | ... | Maureen Rooney |
 | Roxanne Hart | ... | Sally Doneghy |
| James Handy | ... | Kevin Doneghy |
| Wesley Addy | ... | Dr. Towler |
| Joe Seneca | ... | Dr. Thompson |
| Lewis J. Stadlen | ... | Dr. Gruber (as Lewis Stadlen) |
| Kent Broadhurst | ... | Joseph Alito |
 | Colin Stinton | ... | Billy |
Détails supplémentaires
Parents Guide:
Durée:
129 min
Pays:
Langue:
Couleur:
Couleur (Technicolor)
Rapport de forme:
1,85 : 1 suite
Son:
Classification:
Australia:M |
Norway:16 |
Iceland:L |
Netherlands:12 |
South Korea:15 |
Finland:K-12 |
Sweden:11 |
UK:15 |
USA:R (PCA #26710) |
West Germany:6 |
Singapore:PG
Lieux de tournage:
Curiosités
Anecdotes:
Dustin Hoffman, Roy Scheider, Frank Sinatra, and Cary Grant were all considered for, or wanted, parts in this movie.
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Goofs:
Continuité: Concannon states that the trial is due to start on February 19th. The year is presumably 1982, as that is the year written on Concannon's check to Laura. February 19, 1982 was a Friday. However, when Judge Hoyle is speaking to Concannon and Galvin before the trial, he states the trial will begin "next Thursday." (This error may be deliberate.)
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Guillemet:
Ed Concannon:
I know how you feel. You don't believe me, but I do know. I'm going to tell you something that I learned when I was your age. I'd prepared a case and old man White said to me, "How did you do?" And, uh, I said, "Did my best." And he said, "You're not paid to do your best. You're paid to win." And that's what pays for this office...
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Connexions De Film:
Référencé sur Saturday Night Live: The Best of David Spade (2005) (TV)
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Liens liés
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Sidney Lumet reaches into a certain style in this film that took me a few minutes to, if the word is right, adjust to. One might almost think the way he keeps the camera on a character or goes for the shots keeping the characters far away (long-shots) or in dark spaces (when not in the courtroom) or seemingly small in the scope of the areas around then, as detached. It is, but there-in lies his talents as a director, by letting the acting- slow but very sturdy and all based on David Mamet's script (also not one of his very best, but then again different from his plays). It's not a great film by the director as some have gone to lengths to write about, but it is one that is resonating further as I write this, and does successfully dig into further what it means to be a lawyer, or just trying to live, when odds are stacked against you. I'm almost reminded of a European director here, searching under the obvious in the story- points of which in the case that could just as well be on an OK episode of Law & Order- doing more of a character study than a full-on courtroom drama.
It helps, however, that Paul Newman is at the top of his game here, giving a performance that is textured, if that's a word to use as well, and kind of sad. He's playing Frank Gavin as much of a tragic figure as a real human being here, and there's a scene where he is in his office at a big moment of doubt "there is no other case, there is no other case". Newman is able to tap into what Lumet and Mamet have in the material superlatively, as if he knows how this character thinks. The early scenes show him as a low-level guy, ambulance chaser, who gets a case of a malpractice of a woman. In one of the most crucial and successful scenes in the film (for both director, writer and star), Gavin takes a couple of Polaroids of the girl in the hospital, seemingly just doing his work, but then has a pause, and the photos come into focus. This kind of change-of-thought has been done in other dramas to be sure, but here it really clicks with the pace, the mood and timing from Newman, and how this situation is given room to breathe.
If the rest of the film doesn't follow this same pattern it's not necessarily a full-on crutch. The courtroom scenes themselves are very good, with James Mason (among other British character actors) convincing in their roles of the more 'weighty' side of the court. Jack Warden adds some presence too as Gavin's partner (and adds a memory of Lumet's own classic 12 Angry Men). Only the sub-plot between Newman and Rampling seems just slightly off. Her character is necessary for the film, and there are one or two excellent scenes with her in it (particularly the one with him feeling most shaky before the trial). But her part is that of a more conventional picture, and her motivations are only made so clear as to not be totally believable. The final scene between her and Newman is maybe the best out of all of them, but it goes without saying that it's mainly a credit to him and Lumet, a kind of catharsis that is laid on that does add a fine point.
The Verdict is not really one of those films that is "over-rated" in the scope of things, and it's possibly more of the deserved Oscar nominated turns for Newman when compared to The Color of Money (good, not great there). It's worth seeing again, even as it is a different kind of courtroom picture, where the good and evil in man is not as revealed as in Lumet's first feature, but there are some poignant scenes of the need of redemption for a broken person.