Sully is a rascally ne'er-do-well approaching retirement age. While he is pressing a worker's compensation suit for a bad knee, he secretly works for his nemesis, Carl, and flirts with ... See full summary »
Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
Frank Galvin is a down-on-his luck lawyer, reduced to drinking and ambulance chasing. Former associate Mickey Morrissey reminds him of his obligations in a medical malpractice suit that he himself served to Galvin on a silver platter: all parties willing to settle out of court. Blundering his way through the preliminaries, he suddenly realizes that perhaps after all the case should go to court: to punish the guilty, to get a decent settlement for his clients, and to restore his standing as a lawyer. Written by
Murray Chapman <firstname.lastname@example.org>
In the climactic courtroom scene, when Frank calls Kaitlin to the stand, Concannon is flustered and confers with one of his lawyers. We then see the lawyer leave the courtroom, presumably having been given some direction by Concannon. Later, after Kaitlin has been questioned by Frank and cross-examined by Concannon, the lawyer returns with a book containing the case Concannon cites to get the judge to disallow the admittance of the photocopy of the hospital admission form as evidence. However, at the point at which Concannon calls the lawyer over and then, presumably, sends him out to "find" this book/case, he doesn't even know about the existence of the photocopy because he hasn't yet questioned Kaitlin; it's during his questioning of Kaitlin that she reveals she has a photocopy of the form. So there's no way the lawyer would have known to go out and find a case regarding the inadmissibility of a photocopy. See more »
[testifying why she kept a copy of the admittance form]
After the operation, when that poor girl she went into a coma, Dr. Towler called me in. He told me that he'd had five difficult deliveries in a row and he was tired... and he never looked at the admittance form. And he told me to change the form. He told me to change the '1' to a '9'... or else... or else he said, he said he'd fire me. He said I'd never work again. Who were these men? Who were these men? I wanted to be a nurse!
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I have seen this movie, on screen and as a video, many times. Each time, it gets better. This is no doubt the best acting by Paul Newman in his career. Why he didn't get the Oscar for this role, but instead got it for the lackluster "The Color of Money", is beyond me. The movie is actually about redemption, or the attempt to be redeemed.
His interpretation of Frank Galvin, a desperate, conniving, down-to-the-last-case attorney, is fascinating and totally convincing. And he has a fantastic supporting cast -- from Jack Warden as his partner, Charlotte Rampling as his chance for romantic redemption, Milo O'Shea as the corrupt judge, Lindsay Crouse as his surprising ace-up-his-sleeve, and most of all, in a landmark supporting actor role, James Mason as the seemingly distinguished and respected defense attorney.
And I found the direction by Sidney Lumet to be, once again, outstanding. Lumet has such a long list of great movies that you wonder why he has never won an Oscar or been given an AFI Lifetime Achievement award.
This is a riveting movie -- about the law, but mainly about the flawed nature of the human beings who are entrusted with it. Please hear Newman, as Frank Galvin, on his last, crippled, despairing leg, give the summation to the case. It needs to be carved in marble somewhere. David Mamet, who wrote the screenplay, deserves accolades for how he was able to hand Paul Newman such a moving summation. The summation is about life, not just the law. It is a masterpiece, worth seeing the entire movie for.
Most of all, it is Newman's Finest Hour.
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