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Crime, Drama, Mystery
IMDB rating:
Sidney Lumet
Martin Balsam as Juror #12
John Fiedler as Juror #12
Lee J. Cobb as Juror #12
E.G. Marshall as Juror #12
Jack Klugman as Juror #12
Edward Binns as Juror #12
Jack Warden as Juror #12
Henry Fonda as Juror #12
Joseph Sweeney as Juror #12
Ed Begley as Juror #12
George Voskovec as Juror #12
Robert Webber as Juror #12
Storyline: The defense and the prosecution have rested and the jury is filing into the jury room to decide if a young man is guilty or innocent of murdering his father. What begins as an open-and-shut case of murder soon becomes a detective story that presents a succession of clues creating doubt, and a mini-drama of each of the jurors' prejudices and preconceptions about the trial, the accused, and each other. Based on the play, all of the action takes place on the stage of the jury room.
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12 Angry Men: A Classic Work of Genius
12 Angry Men is a 1957 American drama film with elements of film noir, adapted from a teleplay of the same name by Reginald Rose. Written and co-produced by Rose himself and directed by Sidney Lumet, this trial film tells the story of a jury made up of 12 men as they deliberate the guilt or acquittal of a defendant on the basis of reasonable doubt. In the United States, a verdict in most criminal trials by jury must be unanimous. The film is notable for its almost exclusive use of one set: with the exception of the film's opening, which begins outside on the steps of the courthouse followed by the judge's final instructions to the jury before retiring, two short scenes in an adjoining washroom, and a brief final scene on the courthouse steps, the entire film takes place in the jury room. The total time spent outside the jury room is three minutes out of the full 96 minutes of the film.

12 Angry Men explores many techniques of consensus-building, and the difficulties encountered in the process, among a group of men whose range of personalities adds intensity and conflict. No names are used in the film: the jury members are identified by number until two of them exchange names at the very end, the defendant is referred to as "the boy", and the witnesses as "the old man" and "the lady across the street".

In 2007, 12 Angry Men was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant" and is often seen as one of the greatest films ever made.
So Simple, So Brilliant
So simple yet so brilliant, 12 ANGRY MEN is not to be missed. It's the tale of the meticulous Mr. Davis, a juror not quite convinced of a murder suspect's guilt despite what appears to be overwhelming evidence. His questions gradually persuade his fellow jurors that things aren't always as open-and-shut as they might seem.

One of the great all-time ensemble casts highlights 12 ANGRY MEN. Henry Fonda is superb as the hardcore skeptic... but then again, everyone is superb, from Joseph Sweeney as the eldest juror to E.G. Marshall as the no-nonsense Juror #4. Anytime a film set almost exclusively at a single cramped table in a single cramped room can spellbound the viewer, you know you've got first-rate actors. The clever, colorful dialog is a treat as well.

Yet the strongest asset of 12 ANGRY MEN is the demands it makes of the viewer to think critically. Initially we are like most of the jurors, curious as to how Fonda can be so naive to think the young suspect may be innocent. But he gradually pulls us into his line of reasoning, challenging our assumptions and finding fault with the supposed facts. By the film's end, we're left wondering how we could have been so narrow-minded just 90 minutes earlier.

As sharp as what's on screen is, 12 ANGRY MEN is equally smart for what it does not show. Many of today's filmgoers would demand flashback sequences to depict what the characters describe. They would want to get to know the accused killer so they could judge him for themselves. They would want more action, more pizazz, and changes of scenery. Yet it's precisely the film's refusal to do any of this that makes it work so well. The viewer is effectively the 13th juror with nothing but recollections of testimony to go on. Our imaginations are free to create a picture of the alleged murder, just as we would have to as part of the jury.

12 ANGRY MEN is often cited as one of the greatest films ever. It's a verdict that is well deserved.
Leave your prejudices outside the door
One of the finest ensemble pieces of film ever made. 12 jurors debate, argue and sweat it out to decide the guilt or innocence of a teenager accused of murdering his father. This was Sidney Lumet's directorial debut. This film is almost entirely set in one room for 90 or so minutes, as the valiant dozen play cat and mouse with the accused's life. To 11 jurors it's an open and shut case - guilty. The defendant's life lays in the hands of one liberal juror (Henry Fonda). The film meticulously examines the facts of the case, as each juror provides reasons for their decisions. Fonda struggles to convince his fellow jurors that there is room for reasonable doubt, but he's working against dubious priorities and deeply-ingrained prejudices. Within the confines of a hot and angry room Fonda fights his corner, whilst highlighting both his open-minded and fair beliefs with the frailties and failures of his fellow defendants. Although unconvincing in detail, the film is absorbing, and made the more remarkable as it is almost entirely set in one room and yet holds the viewers attention. The acting is magnificent; the 12 actors are essentially the movie. A classic film, not using fancy plots or effects, but the talents of actors. A great piece of film making and one of the best films coming out of the US. Worth watching, if not just for analysing human weaknesses.
Theatre of justice
There are some films that are acknowledged classics of one degree or another. Whether it be a technical aspect such as cinematography or something less tangible such as emotional content or a gripping narrative, some stand out. 'Twelve Angry Men' is one such film, mostly noted for the amazing acting performances from a large cast in one room. They have few props and one main set. The stage for twelve actors to show their stuff. And show it they do.

This film works as a pure stage play on the screen. All twelve actors step up to the plate. The writing is immaculate making the complex inter-relationships between the twelve work believably and never letting the pace slacken. It's tense and taut. The points being made aren't always subtle, but they're never hammered home. Keeping twelve characters involved in a story while keeping it moving along is a tough task for a writer. All of them want to have their say so you don't forget them, all of them have to show what their character is, yet none of them must be allowed to dominate. Reginald Rose deserves immense plaudits for what he achieved here.

There is a political message here. To some it may be obvious, to others it may be unpalatable. You may call it propaganda, yet unlike a lot of more modern propagandists, this doesn't solely preach to the converted. This is one to think on for everyone. It's important that even at the end, the viewer doesn't know what really happened the night of the crime. Did they save an innocent from the chair or did they let a killer walk free? It asks questions, says where its loyalties lie but doesn't claim that the issues are black and white. A truly unusual standpoint and one I would welcome more of in film.

Perhaps one of the notable aspects that isn't much commented on about 'Twelve Angry Men' is the oddly un-filmic qualities it has. As previously mentioned it moves like a stageplay rather than screenplay. The look is reminiscent of a TV production including the sans-serif credits underneath the actors faces, and the simple studio set. This hasn't prevented its strengths propelling it into a slot as one of the best and best loved movies of all time.
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.
I find this movie guilty of being a masterpiece.
Shot in real time, this story of a jury trying to decide whether a young man is innocent or guilty never lets the viewer's attention go. Henry Fonda plays Juror #8, who is convinced the entire time that the defendant is innocent, while everyone else has already called him guilty. Throughout the movie, we not only get to hear everyone's opinions on the matter, but also every possibility of the verdict. With "12 Angry Men", Sidney Lumet brought to the screen the same kind of "closing in" feeling that he brought to movies like "Network". In the end, the issue is not whether the defendant is innocent or guilty; the important point is the process by which the jurors reached their decision. This may be THE perfect movie.
The over-used term "classic movie" really comes into its own here!
This once-in-a-generation masterpiece simply has no equal. The late 90's TV remake was quite adequate though totally unnecessary and in the upshot proved simply that updating a film for updating's sake is really an exercise in futility. Even had it BEEN as good - so what?

There could be few, if ANY film-goers reading this who are unaware of the plotline and in any event many others have re-hashed this for you. The brilliance of the film is evident in so many aspects. To begin with, the ability to not only sustain interest but to command the viewer's attention for basically its entire running time within a setting of principally just one room, borders on the inspired. Whether or not that would actually work with TODAY'S audiences is another discussion! What we have here are twelve everyday Mr Joe Blows, summoned together on a jury panel to decide a defendant's guilt or innocence with regards to a murder charge. If you were to gather unto yourselves ANY twelve jurors at random, you would most likely be able to pinpoint the Henry Fonda, Lee Cobb, E. G. Marshall, Jack Warden etc etc amongst them! Their very "ordinariness" is where the film succeeded. Everyone can identify with at least ONE of those characters. Whether or not he may WANT to is a different matter. The thinker, the sensitive man, the arrogant bully, the opportunist, the mentally challenged loudmouth, the slimeball, the emotionally withdrawn, the sheep etc - they're all here! Welcome to society folks! I dislike society in the main - doubtless a reason I found this film to be such a revelation..even when I was barely into my teens!

12 ANGRY MEN also pinpoints the shortcomings of the law, how "truth" can be so intrinsically left-field and unintentionally flawed. Lumet, working within a minimal budget here, delivers unstinting brilliance in both direction, character portrayal and script interpretation. He had of course superb acting talent at his disposal although some of the most memorable performances are from the lesser players. Some have denounced Fonda's role as being acceptable rather than awesome. I think however he was to a great degree playing himself here, not to an audience. His, is a study in deliberation and logic not show-pony stuff, but hell that never WAS Fonda was it?

This is a great great movie, as is evidenced by the extremely high user-vote worldwide. IF you haven't seen it - you really should do something about that!
i think this movie deserve 1st place in ranking. Everything was so cool and nice. The store was excellent. if we think about the store everything was logical and its nicely explained. That kind of argument which was the movies main platform is the perfect entertainment. Solving something with logical explanation. That movie remained us that we just don't have to saw a bunch of fact which was discovered, may be there is something which is still unknown. we always make mistake and for that many people have to suffer. keeping calm and solving something is the coolest thing.

I personally like that movie because of the store. I don't think so that anyone is going to give it less rating. that movie was pure entertainment. i never felled bore when i was watching even the movie was only in a room. every line was interesting, which cant be ignored. Really the movie was awesome. i want to give it 11 out of 10.
If you only ever see one Black and White movie, make this it.
I watched this film for the first time, when it was shown at about 1 o'clock in the morning. I made an effort to see it as it is rated as one of the best movies ever made, however I must admit that I watched it with a sense of reluctance as I'm not a great one for old "classics". This film blew me away however; how ignorant can I be about old films? How many other pre-1960s gems are there out there that I haven't seen? What strikes me most about this film is how progressive it is for its day. Indeed the issues this film makes about American society of the 1950s, still ring true for western society today. This film concerns twelve jurors debating the sentence of an 18 year old Puerto Rican boy who on the face of it, has no real alibi. However one man, played brilliantly by Henry Fonda, is ill-at ease putting a young boy to death without even debating his case, much to the despair of the other jurors. What follows is a brilliant piece of film making, slowly revealing many of the juror's complex characters to the audience as they react to Fonda's concerns with their own mix of metal scars, prejudices and insecurities. What especially struck me about this film is how ordinary most of the characters are, none of the jurors are shown to be especially bad men, indeed most are portrayed as honest everyman type people. The use of ordinary characters is the films master-stroke because as one by one they begin to question their initial instincts, the flaws of society that have let this Puerto Rican boy down are presented to the audience. Tragically it appears that many of the issues that were beginning to be discussed in the 1950s have only got worse. For me there is one immortal comment in this film: one of the jurors, a man in his 50s says that the youths of today have no respect and have changed so much for the worse since his day. How ironic is it that some grumpy old men of today who may not even of have been born when this films was made, still say exactly the same thing? Finally a quick look at the cast shows that Fonda aside many of the cast were only moderately successful after this film. I think that's a shame as everyone of these actors is excellent and plays their part in making it one of the best films of all time. However within the cast there are a couple of treats; look out for Jack Klugman (Quincy) and John Fieldler who is the voice of many of Disney's characters such as Piglet. I urge you all, if you have not yet seen this film, please do so now.
Reasonable Doubt...
The concept of 'Reasonable Doubt' is highly pervasive within the Judicial System; it is the concept that eventually decides the fates of the accused, and is the concept that is one of the most controversial. It's controversy lies in the fact that it is purely subjective, and dependent on the individuals that comprise the jury. The notion of Reasonable Doubt has no one definition, yet it is almost universally known. In 12 ANGRY MEN, Sidney Lumet successfully gives the viewer an idea of how this concept comes into play in a trial.

It is worth noting that while this may be one of the best courtroom movies of all time, it doesn't in fact occur in the actual courtroom; all but 3 or 4 minutes of this Motion Picture is spent in the confines of a Jury Room, where the verdict is hotly debated. Lumet does well to present the Room as a sort of confinement from which there is no escape until a unanimous verdict is decided. As the film progresses, the sense of urgency and claustrophobia sets in, and the tension becomes increasingly high. The first technique Lumet used was to employ the locked door. The second was to cue the rain, which gives the feeling that even the outdoors are 'inaccessible' and that only the Room exists. The third technique may be missed by less astute viewers; Lumet switches his scope from wide to narrow to close-up during the movie, which adds to the claustrophobic feeling mentioned earlier.

The acting is top-notch, as required by any good character study. All 12 men have been developed to some appreciable extent, but the key players have been developed to a comprehensive level given the film's ~95 minute run-time. Henry Fonda is brilliant as the 'hesitant' juror, but to me Lee J. Cobb outshines him in almost every scene (save the opening scenes).

Another aspect of the film worth mentioning is the Music (or lack thereof). This is another intentional ploy by Lumet to give the viewer a 'feel' of the Room. There is no Music in the Jury Room, so why should there be in this film? I agree that while a musical background score serves to enhance or capture the mood of the scene, sometimes the absence of the music (silence) speaks volumes, by allowing the viewer to concentrate fully on the scene(s). One of my favourite movies lacking in music is NO COUNTRY FOR OLD MEN. Another brilliant score-less Motion Picture is CAST AWAY, where no music is used for the entire length of time that Tom Hanks is stranded.

The screenplay is solid and intelligently sound. In fact the only thing that stopped this film from winning Best Picture, Best Director, and Best Screenplay was the excellent THE BRIDGE ON THE RIVER KWAI. Had the movie been made a year or two earlier, it may well have won the esteemed accolades.

I can see why this film ranks in IMDb's All-time Top 10. It is simply a brilliant Motion Picture that has wide appeal, and can be enjoyed and appreciated by many.

4 stars (out of 4). 8/10. Will appear in my Top 200 at around 167 or so. Strongly recommended.
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