"The Verdict" a Warner Bros. 1946 release showed on a cable channel recently. The film was Don Siegel's debut as a director. Sydney Greenstreet and Peter Lorre are seen for the last time in a movie together after being sort of a duo in the ten pictures they appeared together.
Mr. Siegel had been involved behind the cameras for some time. He knew what he wanted and how he wanted to present it for an audience. It is curious he selected this project for his directorial debut, after all, most of his later career was devoted to a different kind of film making altogether, but one can see his talent all over this third retelling of the Israel Zangwill's novel, as adapted for the screen by Peter Milne.
As the film begins, we hear a bell tolling at Newgate's Prison tower indicating the death of a prisoner. Superintendent George Grodman is at hand to witness the execution. Unfortunately, the wrong man was killed and the real culprit is at large. Grodman is demoted because of his blunder and his rival, the hateful Buckley takes over his place. Grodman sets out to make amends and straighten things out in a most unconventional way.
Mr. Siegel's London was shot at the Warner's lot. Hollywood had its own resources to reproduce, sometimes brilliantly, the locales in which the films took place. Thus, the Victorian London we see is permanently darkened by the sort of pea soup one does not see these days, but it was a must at the time this was made. Ernest Haller, the cinematographer shot the film in dark tones to give it an atmospheric feeling that works well, although at times it is somewhat exaggerated.
Mr. Siegel got good all around ensemble acting from his cast. Sydney Greenstreet was not an expressive actor. In this film he shows a bit more of an understanding for what made Grodman tick. The great Peter Lorre is at his best. Joan Lorring, playing Lottie Rawson has some good moments. The supporting cast did wonders to enhance the film. Rosalind Ivan, Paul Cavanagh, the excellent George Couloris, and Morton Lowry, among them, do impressive work.
Mr. Siegel had been involved behind the cameras for some time. He knew what he wanted and how he wanted to present it for an audience. It is curious he selected this project for his directorial debut, after all, most of his later career was devoted to a different kind of film making altogether, but one can see his talent all over this third retelling of the Israel Zangwill's novel, as adapted for the screen by Peter Milne.
As the film begins, we hear a bell tolling at Newgate's Prison tower indicating the death of a prisoner. Superintendent George Grodman is at hand to witness the execution. Unfortunately, the wrong man was killed and the real culprit is at large. Grodman is demoted because of his blunder and his rival, the hateful Buckley takes over his place. Grodman sets out to make amends and straighten things out in a most unconventional way.
Mr. Siegel's London was shot at the Warner's lot. Hollywood had its own resources to reproduce, sometimes brilliantly, the locales in which the films took place. Thus, the Victorian London we see is permanently darkened by the sort of pea soup one does not see these days, but it was a must at the time this was made. Ernest Haller, the cinematographer shot the film in dark tones to give it an atmospheric feeling that works well, although at times it is somewhat exaggerated.
Mr. Siegel got good all around ensemble acting from his cast. Sydney Greenstreet was not an expressive actor. In this film he shows a bit more of an understanding for what made Grodman tick. The great Peter Lorre is at his best. Joan Lorring, playing Lottie Rawson has some good moments. The supporting cast did wonders to enhance the film. Rosalind Ivan, Paul Cavanagh, the excellent George Couloris, and Morton Lowry, among them, do impressive work.