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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.

When historians talk about the great screen pairings, one hears Tracy and Hepburn and Bogart and Bacall tossed around, as well as other male-female combinations. One of the truly great screen pairings of all time was Sydney Greenstreet and Peter Lorre - the former a large, sinister-looking man, and the latter a small, sinister-looking man with a quirky voice. They made nine films together, and when I see their names in a cast list, I know not to miss the movie.

"The Verdict," made in 1946, is a heavily atmospheric mystery set around 1890, when Supt. George Edward Grodman (Greenstreet) inadvertently sends an innocent man to the gallows for a woman's death and loses his job. The man claimed he had an alibi, but the person wasn't found until after the hanging. After many years in service, Grodman leaves with a blemish on his reputation. Replacing him is his ambitious nemesis, Supt. John R. Buckley (George Coulouris). Grodman begins to write the stories of his various cases, in the hopes that it can serve as a primer for police investigations.

When Arthur Kendall is murdered across the street from him, Grodman is pulled into the investigation, since Kendall's landlady (Rosalind Ivan) summoned him to help her get into the room. Kendall's aunt was the murder victim in the case where the innocent man was hanged. Before Kendall was killed, he visited Grodman, along with Grodman's friend Peter Emmric (Lorre) who lives in the same house as Kendall, and a politician, Clive Russell (Paul Cavanagh), who hates Kendall. Russell and Kendall come to blows outside of Grodman's house. Grodman now finds himself in a position of helping the man who replaced him.

This is an very clever mystery, brought up a few levels by the acting of Greenstreet and Lorre. Paul Cavanagh and George Coulouris turn in good performances in smaller roles, and Joan Lorring is fine as a dance hall girl who was involved with Kendall. Though not a great beauty, she has a great figure and conveys a low class background.

Highly recommended. With the Victorian times, the heavy fog, and the presence of Cavanagh and Coulouris, the film reminds one of the Sherlock Holmes movies.

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

It is sad that Sydney Greenstreet's career in film was relatively brief - albeit marked by memorable performances in some truly great movies. He may well have had a successful life on the stage in the bulk of his acting life but his roles in film, in a brief eight year period, are all that is preserved from a long and distinguished career. We can only guess at the performances of a young and perhaps thinner Sydney Greenstreet. Despite all this he made his debut in The Maltese Falcon and then a few films later co-starred in Casablanca, more than making up for the delay in the transition to the big screen. The Verdict sees Greenstreet at his finest as the wizened superintendent whose career has been forever marred by an error of judgment that costs a man his life. This is a perfect whodunit/noir/murder mystery that is still gripping and tight despite the slightly melodramatic ending where revenge is possibly carried a little too close to the wire. Lorre is his usual sinister self, fascinated at the thought of exhuming a dead body and Colouris appropriate as the inept detective. Highly recommended.

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.

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.

This is one of the finest detective mysteries ever filmed. It is astonishing that the young director Don Siegel showed so much talent so early. Once again we have that wonderful pair, Sydney Greenstreet and Peter Lorre making a masterpiece together. Greenstreet is spellbinding in every scene. Lorre creates a well-rounded three-dimensional character from a two-dimensional part, and makes him eccentric and intriguing. The story is set in 1890 in London, and is based on a novel entitled 'The Big Bow Mystery' by best-selling author Israel Zangwill, which was in turn apparently based on a real case. The plot of the film is one of the most complex and intellectually challenging ever made. It 'out-Sherlocks Sherlock'. The essence of the dilemma is how can a man have his throat cut in a room in which the door and windows are locked and bolted from the inside, and there is no other way in or out. The film is helped a lot by a brilliant performance by Rosalind Ivan as a hysterical landlady who may or may not have murdered her lodger (but how??). The atmosphere is powerful, the filming expressionistic, the style impeccable, and the result magnificent. Greenstreet and Lorre are at the top of their form. This is a film no lover of the genre should miss.

Scotland Yard inspector Sydney Greenstreet sends an innocent man to the gallows. As a result, he's disgraced and forced to resign. His replacement is an arrogant, obnoxious rival. Greenstreet decides to commit the perfect murder to ruin his successor's career just as his was. Excellent movie with a smart script and wonderful cast. Any movie with Sydney Greenstreet and Peter Lorre in it is a must-see in my book. They both give terrific performances here. The rest of the cast is also good. Director Don Siegel's first full-length feature film and it's a doozy. He would, of course, go on to a long career with many great movies under his belt. This is a good start, if you ask me.

Although there have been thousands of murder mysteries in hard cover and paper back, very few have translated to the movies well. Rarely is an audience ever surprised.

In The Verdict, Sydney Greenstreet as Supt. George Edward Grodman and Peter Lorre as Victor Emmric team up in what might be billed as the best whodunnit ever produced for the screen.

Grodman is summarily dismissed from his Scotland Yard position. After his forced retirement a neighbor is murdered and he and his eccentric friend Emmric try to solve the crime.

Why this is not among the favorites of every fan of this genre is a mystery in itself.

Without the box office clout of Warner Brothers leading players, Peter Lorre and Sydney Greenstreet made two crackerjack films for their studio, Three Strangers and The Verdict. One only wishes they had done more together.

Greenstreet and Lorre are neighbors in Victorian London and Greenstreet is a Scotland Yard inspector. Another neighbor Morton Lowry has provided invaluable information in the murder of his aunt, a case Greenstreet was assigned to. But after the execution of the suspect which is what began the film, new evidence comes to light proving that an innocent man had been hung.

Greenstreet's rival on the job, George Coulouris practically dances a jig with this news. He's been doing a lot of back channel maneuvering to get Greenstreet canned and himself to take his place. He's truly one hateful dude.

But later on Lowry is found dead in the proverbial locked room and Coulouris is the one now with a baffling case. Greenstreet and his artist friend Peter Lorre who like a bit of a nip now and then are around to offer help which Coulouris would rather die than accept.

How was the murder committee? The only thing I will say on the subject is that when one is good, one can make people believe they see more than they really do.

Lorre and Greenstreet play beautifully off each other and add the presence of Coulouris, you've got the makes of a great film that needs no star power. Such other colorful character players like Paul Cavanaugh, Joan Lorring, Arthur Shields, Rosalind Ivan are also in the cast.

When the solution is given at the end, you'll think it so confounded simple you'll kick yourself you didn't think of it.

Greenstreet and Lorre are not to be missed in any event.

Like a great movie released the same year - The Big Sleep - this is a very confusing mystery movie like a Raymond Chandler novel or Hitchcock film - but the corners and edges are rougher and the script is not as smooth and clever. The dialogue also doesn't compare to that great film and frankly a number of the scenes just don't cut it.

The ending is a bit of a letdown to be straightforward.

The director Don Siegel is making one of his first films - before he would go on to things like Invasion of the Body Snatchers, Babyface Nelson and of course Dirty Harry.

He looks to still be getting his bearings here and considering his lack of experience -does a very good job.

The adapted screenplay is in capable hands but just falls short of greatness.

Sydney Greenstreet and Peter Lorre are a great team - they make up for a lot of the film's shortcomings. There is a strong cast of British actors who also give the film some added weight. George Colouris is excellent - he was part of the Mercury Theatre group of Orson Welles. He played Walter Parks Thatcher in Citizen Kane.

The mystery of this film is really Joan Lorring - who is beyond excellent and on the screen for far too short of a time. She is mesmerizing every second she is on and it is a great wonder she did not turn into a major star as she was obviously meant to be. It doesn't make sense that Jack Warner, who produced this film, would have let her leave the studio to go on to a career in independent productions, Italian movies, and the New York theater when she could have been as big as Ava Gardner or Audrey Hepburn.

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

This is not a spoiler because we know this in the first five minutes. A respected Scotland Yard detective is dismissed because he "hanged an innocent man." I can't accept the basic premise of this story. The police simply investigate the crime and bring their findings to the prosecutor. If an innocent man is hanged, it is not the fault of the detective, but rather that the prosecutor didn't do due diligence and the defense attorney didn't call him on it. No one person is to blame if the wrong person is punished because it involves two opposing teams at work.

Greenstreet and Lorre were terrific in the films they made together, this being the best of the ones I've seen so far.

The year is 1890. Greenstreet plays the superintendent of police of Scotland Yard, George Edward Grodman, who has just been to the execution of a man he arrested for the crime of murdering an elderly woman. He arrives back at his office to discover that the man is in fact innocent, as the clergyman that the man claimed as an alibi has finally surfaced. Disgraced, he is forced to resign in favor of his subordinate, John Buckley (George Coulouris).

Grodman is a man of means, so the loss of a paycheck doesn't seem to be a problem, but his nightmares about sending an innocent man to the gallows are. He seems to be recovering, and even making plans for writing a book about his past cases, when a neighbor from across the street is murdered. The crime seems to be a perfect one - the murderer apparently killed the man from inside his own locked room and escaped without detection or leaving any clues behind. However, the brash and boorish new superintendent Buckley will not accept that, and continues seeking a suspect, although in the manner of a bull in a china shoppe. In the meantime, there are a multitude of suspects that intersect with a multitude of witnesses, and Grodman along with the help of his friend, illustrator Victor Emmric (Peter Lorre) decide to do some investigating themselves on their own time.

Greenstreet and Lorre are terrific together as always, with a timing and chemistry that makes them great at these kinds of films. You never know if the likable exteriors displayed by each is the truth or a lie in either or both cases, usually up to the end. This one will keep you guessing right up to the final scene, and I highly recommend it.

Don Siegel's first film is far from his best. Let's just say that Agatha Christieland is not this wonderful, hardboiled action director's most comfortable turf. And a rather unmemorable screenplay with rather unmemorable dialogue does not help matters much. However, if this is Siegel's first timid foray into movies it is Lorre and Greenstreet's assured swansong, at least with the two of them together, and I am happy to report that they go out with a bang. And a sneer (Greenstreet). And an oleaginous whimper (Lorre). Their performances as a bitter, lonely bachelor whose whole identity is tied to his former job (Greenstreet) and a wormy, insidious police artist (Lorre) not only save this film but are among their finest, evoking, as usual with this duo, both great pity and mild disgust. And the Jack The Ripper cinematography by Ernest Haller aint bad, either. B minus.

Don Siegel's (Dirty Harry/Charley Varrick) first feature from 1946 stars perennial screen chums Sydney Greenstreet & Peter Lorre in this tale on the nature of law & order. Greenstreet is a constable in Scotland Yard who has found out a man he's put away (& who's about to be executed) is actually innocent. The rest of the film we follow him as another person turns up murdered & he has to find the culprit before the end of the running time. For the most part the film's through-line is a lot of fun but when the murderer is revealed & the reason is stated (which is similar to a movie from 2003 w/Kevin Spacey named The Life of David Gale which also didn't work) what we've seen before & invested any emotion into just evaporates before our eyes.