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 <email@example.com>
[June 2008] Ranked #4 on the American Film Institute's list of the 10 greatest films in the genre "Courtroom Drama". See more »
When Frank is sitting in his apartment, speaking on the telephone to Sally Doneghy, in long shot we can see a copy of the 'Boston Herald American' on the table in the bottom right hand corner of the screen. When Frank closes the paper and throws it onto the floor, it is clear that this is a copy of the same newspaper with the same headline. 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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If Newman hadn't been up against Ghandi, he probably would have. I think the Academy realized their error and Newman's win for The Color of Money was really for his portrayal of Frank Galvin, in this well-done tale of moral decrepitude and ultimate redemption. Writer Mamet and Director Lumet are into heavy symbolism throughout, with the scene of the developing Poloroids of the victim (the case becomes clear in Galvin's mind), to Galvin's pilfering of a woman's mail to run down a lead on a potential witness. The closing statement of Newman's character to the jury is powerful.
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