Warner Brothers' The Verdict (1946) is a grim murder mystery set in Victorian London and serving as the final cinematic pairing of those masters of melodrama, Sydney Greenstreet and Peter Lorre. The film contains an intriguing premise and lots of atmosphere that is somewhat squandered by a stagnant plot. First time director Don Siegel has many wonderful assets to work with but his efforts never reach their full potential due to this issue of plotting; once the premise is established nothing important happens and events seem to exist to burn up running time until the surprise reveal at the end.
Scotland Yard Superintendent George Edward Grodman (Greenstreet) has his brilliant record as an investigator destroyed when he sends an innocent man to the gallows for murder. The disgraced inspector is dismissed and in short order his successor and rival, John Buckley (George Coulouris), is confronted with the confounding murder of Arthur Kendall (Morton Lowery). Several suspects emerge but the arrogant Buckley is unable to determine how the man was slain in his locked apartment with no trace of an assailant. The remaining running time is dedicated to red herrings, clutching glove hands, and an increasingly exasperated Buckley grasping for answers until the twist conclusion.
At its core The Verdict is a so-called "locked room mystery" where an impossible crime is committed for which there seems to be no logical explanation. Unfortunately once this occurs the narrative flow grinds to a halt and the film relies on misdirection to beguile the audience. Unfortunately minimal suspense is generated and irrelevant sequences exist mainly to muddy the waters. The screenplay casts a wide net to make everyone appear guilty at one point or another but these moments are not organic to the story and, in retrospect, feel like a cheat. Perhaps the most frustrating aspect of the movie is its delineation of "The Big Reveal" at the end. While the killing itself is ingenious (and ties up a huge loose end) it is the lazy and mundane way it is depicted that disappoints. Fortunately Siegel has a terrific cast of pros and plenty of Victorian mist to keep the viewer otherwise engaged.
The main selling point of the film is the pairing of Sydney Greenstreet and Peter Lorre; the duo enjoy much screen time together and deliver peak performances. Greenstreet is commanding as Grodman while navigating a sea of emotions. He demonstrates no joy in condemning criminals to the gallows, is believably devastated when he learns he committed a fatal error, and is wonderfully impish as he watches Buckley fumble his investigation. Lorre portrays his artist friend Victor Emmric who is fond of drink, women, and seeing graves opened. It is a surprisingly well-rounded performance as he convincingly woes a dance hall girl half his age and demonstrates his uncanny knack for putting over morbid dialogue. Lorre is also made to appear suspicious in several scenes and a potential victim in another as the script keeps the audience guessing as to his true character.
The supporting cast is equally well chosen and all deliver fine performances. Joan Lorring is a joy as the mistress of the Kendall and delivers a delightful song and dance number, "Give Me a Little Bit", which is the bright spot in an otherwise gloomy film. George Coulouris, who made a career at Warners enacting irritating characters, crafts one of his best as the imperious Buckley. Skirting the line between comedy and irritation is Rosalind Ivan as the overwrought housekeeper Mrs Benson; she gives the great Una O'Connor a run for her money in the realm of hysterics. Morton Lowery is appropriately unsavory as Kendall while Arthur Shields pops up briefly as (what else?) a priest.
Despite its shortcomings The Verdict is a worthwhile addition to the Greenstreet-Lorre canon and runs on the electricity generated by the two legends. The ride is intriguing with evocative cinematography and stellar performances by the supporting cast. Of the nine films both Sydney and Peter appeared in together this is one of the few where they were a true screen team and leave you longing for more. Unfortunately this would be their last film together which is a verdict that should have been overruled.
Scotland Yard Superintendent George Edward Grodman (Greenstreet) has his brilliant record as an investigator destroyed when he sends an innocent man to the gallows for murder. The disgraced inspector is dismissed and in short order his successor and rival, John Buckley (George Coulouris), is confronted with the confounding murder of Arthur Kendall (Morton Lowery). Several suspects emerge but the arrogant Buckley is unable to determine how the man was slain in his locked apartment with no trace of an assailant. The remaining running time is dedicated to red herrings, clutching glove hands, and an increasingly exasperated Buckley grasping for answers until the twist conclusion.
At its core The Verdict is a so-called "locked room mystery" where an impossible crime is committed for which there seems to be no logical explanation. Unfortunately once this occurs the narrative flow grinds to a halt and the film relies on misdirection to beguile the audience. Unfortunately minimal suspense is generated and irrelevant sequences exist mainly to muddy the waters. The screenplay casts a wide net to make everyone appear guilty at one point or another but these moments are not organic to the story and, in retrospect, feel like a cheat. Perhaps the most frustrating aspect of the movie is its delineation of "The Big Reveal" at the end. While the killing itself is ingenious (and ties up a huge loose end) it is the lazy and mundane way it is depicted that disappoints. Fortunately Siegel has a terrific cast of pros and plenty of Victorian mist to keep the viewer otherwise engaged.
The main selling point of the film is the pairing of Sydney Greenstreet and Peter Lorre; the duo enjoy much screen time together and deliver peak performances. Greenstreet is commanding as Grodman while navigating a sea of emotions. He demonstrates no joy in condemning criminals to the gallows, is believably devastated when he learns he committed a fatal error, and is wonderfully impish as he watches Buckley fumble his investigation. Lorre portrays his artist friend Victor Emmric who is fond of drink, women, and seeing graves opened. It is a surprisingly well-rounded performance as he convincingly woes a dance hall girl half his age and demonstrates his uncanny knack for putting over morbid dialogue. Lorre is also made to appear suspicious in several scenes and a potential victim in another as the script keeps the audience guessing as to his true character.
The supporting cast is equally well chosen and all deliver fine performances. Joan Lorring is a joy as the mistress of the Kendall and delivers a delightful song and dance number, "Give Me a Little Bit", which is the bright spot in an otherwise gloomy film. George Coulouris, who made a career at Warners enacting irritating characters, crafts one of his best as the imperious Buckley. Skirting the line between comedy and irritation is Rosalind Ivan as the overwrought housekeeper Mrs Benson; she gives the great Una O'Connor a run for her money in the realm of hysterics. Morton Lowery is appropriately unsavory as Kendall while Arthur Shields pops up briefly as (what else?) a priest.
Despite its shortcomings The Verdict is a worthwhile addition to the Greenstreet-Lorre canon and runs on the electricity generated by the two legends. The ride is intriguing with evocative cinematography and stellar performances by the supporting cast. Of the nine films both Sydney and Peter appeared in together this is one of the few where they were a true screen team and leave you longing for more. Unfortunately this would be their last film together which is a verdict that should have been overruled.