12 Angry Men (1957)

Director:

Sidney Lumet

Writers:

Reginald Rose (story)
Reginald Rose (screenplay)

Release Date:

29 July 1957 (Sweden)

Genre:

Crime | Drama | Mystery

Tagline:

Life Is In Their Hands -- Death Is On Their Minds!

Plot:

A dissenting juror in a murder trial slowly manages to convince the others that the case is not as obviously clear as it seemed in court.

Plot Keywords:

Murder | Jury | Trial | Jury Room | Eyeglasses

Awards:

Nominated for 3 Oscars. Another 13 wins & 6 nominations

Cast

Martin Balsam	...	Juror #1
John Fiedler	...	Juror #2
Lee J. Cobb	...	Juror #3
E.G. Marshall	...	Juror #4
Jack Klugman	...	Juror #5
Edward Binns	...	Juror #6
Jack Warden	...	Juror #7
Henry Fonda	...	Juror #8
Joseph Sweeney	...	Juror #9
Ed Begley	...	Juror #10
George Voskovec	...	Juror #11
Robert Webber	...	Juror #12

Also Known As:

Twelve Angry Men (USA) (alternative spelling)

Runtime:

96 min

Country:

USA

Language:

English

Colour:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

South Korea:12 | Brazil:Livre | Argentina:Atp | Australia:G | Finland:K-8 | Sweden:15 | UK:U | USA:Approved (certificate #18206) | West Germany:12

Filming Locations:

New York, USA

Company:

Orion-Nova Productions

Trivia:

After Juror #10's prejudicial rant about the poor and everybody turns their backs on him, Juror #4 tells him to "sit down and don't open [his] mouth again." Juror #10 thus doesn't say anything for the rest of the film (when prompted for his final vote he shakes his head "not guilty," and doesn't verbalize anything).

Goofs:

Continuity: When juror #12 is sitting on the back of the chair smoking a cigarette, in the long shot the cuffs of his shirt are rolled back, but in the closeup the cuffs are fastened with cuff links, and then in the next long shot the cuffs are rolled back again.

Quotes:

[first lines]
[In a tedious manner, sounding bored and tired]
Judge: To continue, you've listened to a long and complex case: murder in the first degree. Premeditated murder is the most serious charge tried in our criminal courts . You've listened to the testimony, you've had the law read to you and interpreted as it applies in this case...

Movie Connections:

Referenced in "Doogie Howser, M.D.: Eleven Angry People... and Vinnie (#4.21)" (1993)

No Dissonance

This film deserves to be on anyone's list of top films. My problem is that it is so perfect, so seamlessly polished, it is hard to appreciate the individual excellences.

The acting is top notch. I believe that monologue acting is quite a bit simpler than real reactive ensemble acting. Most of what we see today is monologues pretending to be conversations. But in this film, we have utter mastery of throwing emotions. Once the air becomes filled with human essence, it is hard to not get soaked ourselves as the camera moves through the thick atmosphere. Yes, there are slight differences in how each actor projects (Fonda internally, Balsam completely on his skin...) but the ensemble presents one vision to the audience.

The writing is snappy too. You can tell it was worked and worked and worried, going through several generations. It is easy to be mesmerized by this writing and acting, and miss the rare accomplishment of the camera-work. This camera is so fluid, you forget you are in one room. It moves from being a human observer, to being omniscient, to being a target. It is smart enough to seldom center on the element of most importance, so expands the field to all men.

This is very hard. Very hard, to make the camera human. So much easier to do what we see today -- acknowledge the machinery and jigger with it. Do we have a filmmaker today who could do this?

Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.