The Verdict

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The Verdict
Theatrical release poster
Directed by Sidney Lumet
Produced by David Brown
Richard D. Zanuck
Screenplay by David Mamet
Based on The Verdict 
by Barry Reed
Starring Paul Newman
Charlotte Rampling
Jack Warden
James Mason
Milo O'Shea
Cinematography Andrzej Bartkowiak
Edited by Peter C. Frank
Distributed by 20th Century Fox
Release dates
  • December 8, 1982 (1982-12-08)
Running time
129 minutes
Country United States
Language English
Budget $16 million[1][2]
Box office $53,977,250[3]

The Verdict is a 1982 courtroom drama film that tells the story of a down-on-his-luck alcoholic lawyer who takes a medical malpractice case to improve his own situation, but discovers along the way that he is doing the right thing. The lawsuit involves a woman in a persistent vegetative state and is thus reminiscent of the Karen Ann Quinlan case. The film stars Paul Newman, Charlotte Rampling, Jack Warden, James Mason, Milo O'Shea and Lindsay Crouse.

Directed by Sidney Lumet, the film was adapted by David Mamet from the novel by Barry Reed and is not a remake of the 1946 film of the same name.

The Verdict garnered critical acclaim and box office success. The film was nominated for five Academy Awards, including Best Actor in a Leading Role (Paul Newman), Best Actor in a Supporting Role (James Mason), Best Director (Sidney Lumet), Best Picture and Best Screenplay Based on Material from Another Medium (David Mamet).


Frank Galvin (Paul Newman), once a promising graduate of Boston College Law School and a lawyer at an elite Boston law firm, is now an alcoholic ambulance chaser who has lost all of his four cases over the last three years. As a favor, his former partner and friend Mickey (Jack Warden) throws him a medical malpractice case where it's all but assured that the defense will settle for a large amount. The case involves a young woman who was given a knock-out anesthetic during childbirth, after which she choked on her own vomit and was deprived of oxygen for a number of minutes. The young woman is now in a coma, on a respirator. Her sister and brother-in-law are hoping for a settlement to properly care for the victim, and Frank assures them they have a strong case. Meanwhile, Frank becomes romantically involved with Laura (Charlotte Rampling), a woman he meets at a local bar.

Frank visits the comatose woman and is deeply affected. He then meets with the defendants: the Archdiocese of Boston, which runs the Catholic hospital where the incident took place. As expected, the archdiocese offers a fairly substantial amount of money — $210,000 — to settle out of court, but Frank declines the offer as he fears that this may be his last chance to do something right as a lawyer, and that merely taking the handout would render him "lost." Everyone, including the presiding judge and the victim's relatives, is stunned by Frank's decision.

Things quickly go wrong for Frank: his client's brother-in-law finds out from "the other side" that he has turned down a $210,000 settlement, and angrily confronts Frank; his star medical expert disappears; a hastily arranged substitute's credentials and testimony are called into serious question on the witness stand. His opponent — the high-priced attorney Ed Concannon (James Mason) — has at his disposal a large legal team that is masterful with the press; the presiding judge (Milo O'Shea) makes deliberate efforts to obstruct Frank's questioning; and no one who was in the operating room is willing to testify that there was any negligence.

While looking for cigarettes in Laura's handbag, Mickey discovers a cheque from Concannon, implying that she is providing information on Frank's legal strategy to the opposition. At their next encounter a coldly furious Frank strikes Laura in the face with great force, knocking her to the floor. Mickey informs him that he can get the case declared a mistrial, but Frank decides to continue.

Frank's big break comes when he discovers the whereabouts of a lone witness quickly hushed after the incident: Caitlin Costello (Lindsay Crouse), the nurse who admitted his client to the hospital. Her testimony — that she was told by one of the doctors in the case to change her notes on the admitting form after the incident to hide his fatal error — stuns the entire courtroom. Concannon, obviously surprised and distressed (and thus apparently not having been informed by Laura of Frank's discovery of Costello), attempts to discredit her and manages to get the judge to declare her testimony stricken from the record on technicalities. Frank delivers a brief but moving closing argument, telling the jury "you are the law," and entreating them to seek "truth and justice" in their hearts before they vote. When the jury returns, they find for Frank's client and ask whether they can award more than the amount sought by the plaintiffs. The judge resignedly replies that they can.

As Frank is congratulated by his clients, Mickey, and colleagues and strangers alike, he catches a glimpse of Laura watching him from afar. That night, Laura, in a drunken stupor on her bed, drops her whiskey on the floor, drags the phone toward her, and picks up the receiver. The final shot is of Frank in his office looking thoughtful, drinking coffee out of a paper cup, and ignoring the persistent ringing of his phone.



Film rights to the novel were bought by the team of Richard Zanuck and David Brown. A number of actors, including Roy Scheider, William Holden, Frank Sinatra, Cary Grant and Dustin Hoffman, expressed interest in the project because of the strength of the lead role. Arthur Hiller was originally attached to direct and David Mamet hired to write a screenplay. Neither Zanuck-Brown or Hiller liked Mamet's script, so Hiller left the project and the producers commissioned another screenplay, from Jay Presson Allen. The producers liked this script and were approached by Robert Redford, who liked the project but did not like Allen's script. Redford suggested they hire James Bridges as a writer-director and Bridges wrote several drafts of the screenplay, but Redford was not happy with any of them and Bridges left the project. Redford then began having meetings with Sydney Pollack without telling the producers; irritated, they fired Redford.[4]

Zanuck and Brown then hired Sidney Lumet to direct, sending him all versions of the script. After several rewrites, Lumet decided the story's original grittiness was fast devolving and chose Mamet's original script. This was agreed to by Paul Newman, who ultimately agreed to star.[5]

Bruce Willis has an uncredited background appearance as an extra, in one of his first film appearances. After the verdict is read for the plaintiff, Willis can be seen, smiling, to the left of Newman's head. Tobin Bell also appears, to Newman's right.


The Verdict holds a 96% "Fresh" rating on the review aggregate website Rotten Tomatoes.[6] In a poll of 500 films held by Empire magazine, it was voted 254th Greatest Movie of all time.[7] In 2013, the Writers Guild of America ranked the screenplay #91 on its list of 101 Greatest Screenplays ever written.[8] Richard D. Pepperman praised the scene in which Judge Hoyle eats breakfast and offers Galvin coffee as "a terrific use of objects, making for a believable judge in his personal, comfortable and suitable place, as well as a Physical Action (motion) that demonstrates the subtext of the Judge's objective (in support of the insurance company, the doctor and their attorney) without an abundance of expository dialogue."[9]

American Film Institute[edit]


  1. ^ "The Verdict, Box Office Information". The Numbers. Retrieved January 5, 2012. 
  2. ^ Aubrey Solomon, Twentieth Century Fox: A Corporate and Financial History, Scarecrow Press, 1989 p260
  3. ^ "The Verdict, Box Office". Box Office Mojo. Retrieved January 5, 2012. 
  4. ^ William Goldman, Adventures in the Screen Trade, 1982 p 62-67
  5. ^ Shawn Levy, Paul Newman: A Life, p 436.
  6. ^ "The Verdict, Movie Reviews". Rotten Tomatoes. Retrieved January 29, 2012. 
  7. ^ "Empire's The 500 Greatest Movies of All Time". Empire. Retrieved January 29, 2012. 
  8. ^ Savage, Sophia (February 27, 2013). "WGA Lists Greatest Screenplays, From 'Casablanca' and 'Godfather' to 'Memento' and 'Notorious'". Retrieved February 28, 2013. 
  9. ^ Pepperman, Richard D. (2008). Film School: How to Watch DVDs and Learn Everything about Filmmaking. Michael Wiese Productions. pp. 184–185. ISBN 9781615930401. Retrieved April 7, 2013. 

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