The Verdict

 The Verdict  a 1982 court room drama written by David Mamet and masterfully executed by Director Sidney Lumet and world renowned and revered actor Paul Newman  manages not only to be a successful courtroom drama, but a haunting character study; While additionally it manages to expel the inherent and systematic  racism, sexism, and prejudice that is ubiquitous within our society. The plot whilst not ground breaking is a solid set up for tense and character driven drama, Frank Galvin a once respected lawyer has free fallen into alcoholism and a state of complete isolation after a messy divorce and a jury tampering case that heavily involved him. He decides to take a simple settlement case from his long time friend Morrissey, however after he visits his client in the hospital who is now brain dead from a botched pregnancy gone wrong,  he decides to take matters in his alcoholic trembling hands.

While the plot of the story revolves around the little man and its uphill fight against the giant well liked societal institution is blatant, there is another message within the movie. The film relies on the theme of truth, justice and the American way of defeating a powerful  institution that is impossible to topple. Not only does it look at the court case but the societal prejudices and how these can be overcome. Small instances where a black man is serving a room full of white lawyers, utilizing and degrading an attractive  woman with her looks and sexual advances, and even referring to yourself with a Jewish name to pass of as an accountant,  are various anecdotes in the script that sell this underlying message.  Not only do Mamet and Lumet show that the case will be solved in an uplifting and positive manner but rather the deep-rooted problems within society. Issues that will progress, one can look at the black doctor and he tries to do the right thing and expel the truth.  Accompanying this theme is how the film begins on Christmas, a literal birth for the new fair and equal society that Galvin strives to fight for.

Not only is this a new birth for the society but for Galvin he must emerge from this court case regardless of the outcome as a changed man. Newman plays this character with such quiet intensity and conviction which  is delivered throughout various instances. The way his defeatist attitude suggest a placid and non confronted view of the world he takes out his helplessness and anger through in controllable body controls, the way he handles inanimate objects, even the watering of his eyes; he has shed enough tears and invested too much into events that has let him down. The only instance of anger and physical action is brought through a slap, but the amount of character development and psychological understanding that one physical movement is impressive.

Lumet in addition brings forth similar veteran tactics to help craft this film into the classic it is today. With the beautiful shot composition, the use of the camera movement as it goes through rooms, hospitals, and parking lots, peeling away layers of the world to get towards the simple truth. Galvin additionally is presented in an organically changing ways; initially there are various overheard shots in confined rooms to give him the appearance of feeling alone; his practice and the Judges office for example. However this shot is used again towards the end but rather it cranes in, the confidence and attention now given to him, casting a positive light upon him and foreshadows the  joyous jury verdict in the subsequent scene.

The Verdict is a gorgeously shot film, while not maintaining a revolutionary or incredible plot it manages to craft some solid pieces of dialogue and fleshed out tangible characters that the audience can relate too, Both Lumet and Newman take advantage of this and while not only bring the court case to the forefront but rather the issues within society and a terrifying look at an alcoholic and his redemption and rebirth that coincides with Christmas time.