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The Verdict
Consider Paul Newman for a moment. While Oscar wins and nominations aren’t specifically the best judge of anyone’s career (Hitchcock never won one for directing; Orson Welles only got nominations for Citizen Kane and nothing else), it’s a good place to start. Newman was nominated for nine acting Oscars, eight of which were for Best Actor. This ties him for sixth all time, behind Meryl Streep (18), Jack Nicholson (12), Katharine Hepburn (12), Laurence Olivier (10), and Bette Davis (10, and he’s tied with Spencer Tracy). It puts the man in very good company, and it means that any film for which he was nominated is one to be taken seriously. When his opposite number is James Mason, you sit up straight. And thus we have The Verdict.
Frank Galvin (Newman) is a down-and-out lawyer who has lost his last four cases, the only cases he’s had in the last three years. He’s reduced to attending funerals, lying about his connection with the deceased, and leaving his business card with the bereaved. He’s at the end of his emotional rope when he is reminded of a pending case. A young woman giving birth to her third child was given the wrong anesthetic and has since entered a persistent vegetative state. It’s the sort of case he needs to get back on his feet, because the hospital wants it to go away. They offer $210,000 to settle, which gives Frank an nice check for $70,000, covers the woman’s medical expenses in perpetuity, and gives the grieving sister some compensation. But Frank has spent that day that the hospital and has decided that this is a case that needs to go to trial, and he turns the offer down flat.
