The Verdict

The Verdict is directed by Don Siegel and adapted to screenplay by Peter Milne from the novel The Big Bow Mystery written by Israel Zangwill. It stars Sydney Greenstreet, Peter Lorre, George Coulouris, Joann Lorring, Rosalind Ivan and Paul Cavanagh. Music is by Frederick Hollander and cinematography by Ernest Haller.

When Scotland Yard superintendent George Grodman (Greenstreet) in error sends an innocent man to be hanged at Newgate Prison, he is forced to retire in shame. Replaced by the irritable and obnoxious John Buckley (Coulouris), Grodman gets an unexpected opportunity to embarrass Buckley when a tricky murder occurs in a seemingly locked room…

The scene is set from the off, it's 1890 at Newgate Prison in London and a man is hanged off camera. Fog and gas lighted shadows cloak the events to enhance the macabre feel of the event. For the next 80 odd minutes 90% of the story will involve fog or shadows, or both at the same tame, making this very much of interest to the Gothic/noir fan. The story had previously formed the basis of a 1934 film titled as The Crime Doctor.

The story itself is most intriguing, the mystery element remains strong throughout as the suspects are deftly dangled in the plotting by Siegel (directing his first full length feature) and Milne. Just how could a murder be committed in a room completely locked from the inside? The makers ensure that certain areas are kept grey to give off a feeling of confusion, motives and means are deliberately matter of fact and the trusted pairing of Greenstreet and Lorre is a deliciously odd-ball little and large act.

It would be harsh to decry the production for being stage-bound, because although it inevitably is, it doesn't hurt the mood of the picture at all. The story is acted and directed with skill and Haller's photography is in turn beautiful and suitably sinister. 8/10

Sydney Greenstreet (Grodman) is relieved of his position at the police force after an innocent man is hanged under his watch. Devious George Coulouris, who has contributed to Greenstreet's downfall by not helping in the investigation, replaces him. When Morton Lowry (Kendall) is found murdered, Greenstreet can sit back and watch Coulouris make a hash of the investigation, a role that he relishes.

The cast are all good with Greenstreet and funny, morbid artist Peter Lorre (Victor) leading the way. The story is set in Victorian times in England and has plenty of foggy atmosphere. It's a murder mystery type of film that keeps you guessing as to who the murderer could be. You're bound to change your mind a few times but will you get it right? The film moves along at a good pace and is an enjoyable experience as you watch it thanks to the cast. Peter Lorre and Sydney Greenstreet deliver their lines perfectly and they can be very funny as well as very misleading. They have great chemistry together as always.

I don't know what to say about the other reviews here(better to say nothing as their insights offer that suitable response). This is a great film with a great pairing of that wonderful coupling of gargantuan Sydney Greenstreet and devilish, diminuative Peter Lorre. Grenstreet never was better as a Scotland Yard superintendant who mistakenly sends an innocent man to his death. He is forced out of his job by another aspiring detective played with relish by George Coulouris. Greenstreet remarks, "He underestimated the size of my britches." And so he did! Greenstreet was that special kind of actor that draws you to his every word, action, and deed. His refinement of speech and larger-than-life presence greatly enhance the film. Lorre is Lorre, a funny character actor getting a break from villains for a chance. Lorre and Greenstreet aid each other very nicely and their scenes together are perhaps the most fun ones in the film. Behind all the actions of the two men is a fine Victorian mystery that has a good, hard-to-figure out ending. Director Don Siegel shows his deftness in capturing a dark Victorian setting. His scene exhuming a casket is particularly well-done. A fine film and an unfortunately all to rare chance to see Lorre and Greenstreet together.

Have always liked film noir, and there are many classics that are too numerous to list. Consider Sydney Greenstreet and Peter Lorre to be fine actors and always loved seeing them together, at their best they were dynamite. Don Siegel did some great films, with 'Dirty Harry' for example being iconic and 'Invasion of the Body Snatchers' (deservedly a landmark in its genre) and 'The Shootist' also among his best.

Thought 'The Verdict' to be a very good film. Much better than credit for, although well liked by a lot here also did read reviews from others that ranged from mixed to unimpressed. And it deserves to be much better known. Both Greenstreet and Lorre have done better, individually and together, and 'The Verdict' is not one of Siegel's best. They all come off well though, and do find the film to be much better than modestly suspenseful as has been described/indicated in reviews read.

It did slow down somewhat in pace at times in the middle. Joan Lorring to me felt bland in her role.

While the reveal and murderer identity was a genuine shock and had me floored, the staging of the ending itself is a touch melodramatic.

Both Greenstreet and Lorre excel though, in the last of their teamings, with roles well suited to them and play to their strengths. Greenstreet's is bigger and he shows no signs of fatigue or disinterest, while Lorre has the more colourful role and he is very entertaining to watch. Their chemistry is as riveting as one expects, bringing the right amount of tension and entertainment value. George Coulouris makes a big impression here as well.

Siegel, in his first feature film, does a more than credible job and while he did better films and his directing style became more refined this is hardly the work of an amateur. 'The Verdict' looks great, with moody photography and a handsomely rendered and vividly atmospheric Victorian setting. The music, while not mind-blowing, fits very well rather than being discordant with the atmosphere.

'The Verdict' further benefits from a tightly structured and intelligent script, that treats its viewers with respect, and to me the story did have suspense and thrills (not quite nail-biting but more than modest), going at a mostly crisp pace while meandering a little in the middle. Didn't find it predictable or implausible.

On the whole, very well done film. 7/10

The Verdict is an absolutely absorbing and ingenious locked-room murder mystery, complete with sheer performances and irresistible gothic atmosphere. Set in London, near the end of the 19th century this intelligent movie handles about a seemly insolvable murder. Superintendent Grodman hunts down the murderer of the man who lives across him…unofficially, because Scotland Yard dismissed him after making a mistake in his previous case, which resulted in the execution of an innocent man. Grodman playfully amuses himself by fooling and not helping Supt. Buckley…the ambitious vulture successor who gladly witnessed Grodman's resignation. The characters and their backgrounds in this film are so fascinating…the speculative possibilities and ‘maybe'-motivations are so left open that the Verdict really became the most unpredictable ‘whodunit' thriller I ever saw. And I'm utterly impressed by that. Director Don Siegel based his film on the novel by Israel Zangwill and I can clearly see why this author often gets referred to as ‘the father detective thrillers'. Both basic plot and screenplay are flawless and compelling, complete with fiendish dialogues. Plus…the atmosphere and structure are genius film-noir and gothic-like which is completely Don Siegel's achievement. Siegel, who shot his first long-feature film with The Verdict delivers one of the most powerful debuts in film history ever. Almost as remarkable as John Huston's debut with The Maltese Falcon, I dare to say… There are constant undertones of diabolicalness present, resulting in a high rate finale that leaves you completely speechless. Terrifically done! At one point, we even receive a pretext of what `12 Angry Men' will look like, 11 (!) years before this one gets released!! Don Siegel's later masterpieces perhaps overshadow this little highlight but, to me, this still is his finest film. And that certainly must mean something, seeing his entire repertoire contains milestone-titles like `Invasion of the Body Snatchers', `The Shootist', `Dirty Harry' and `Escape from Alcatraz'.

Of course, The Verdict wouldn't have been half as memorable as it is now if it weren't for the brilliant acting performances. Peter Lorre on top, and not exclusively since he's one of my top 5 favorite actors ever. Lorre is genius as ever as the amiable cartoon-artist obsessed by the sinister details such as corpse digging and strangling. Like in multiple of his other films, he also has a slight drinking problem which gives the film a tiny comical side-aspect. Sydney Greenstreet (best know as Bogart's concurrent in Casablanca) makes a great Supt. Grodman as he manages to remain distinguished and irritated at the same time. Without the slightest doubt, The Verdict receives a rating 10 out of 10 from me…and naturally, it comes with the highest possible recommendation. I'll even buy you a beer if you can name the murderer's identity before the film is over.