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“12 Angry Men” is a courtroom play in form. Its goal is to provide a crash course in the parts of the Constitution that guarantee the assumption of innocence and a fair trial for accused people. It has a certain bare-bones simplicity: The entire movie, with the exception of the setup and epilogue, is set in a tiny jury chamber in New York City on “the hottest day of the year,” as 12 men deliberate the fate of a young defendant accused of killing his father.
The judge’s tepid, almost bored charge to the jurors is the only representation of the trial we get in the movie. His tone of voice suggests the verdict is a foregone conclusion. We don’t hear from the prosecutor or the defense lawyer, and we only hear about the proof from the jurors as they discuss it. The majority of courtroom pictures believe that the conclusion must be definitive. However, “12 Angry Men” never explicitly says whether the defendant is guilty or innocent. It all depends on whether or not the juror believes he’s guilty.
Although many Americans have had trouble accepting it, the concept of reasonable doubt, which holds that a defendant is innocent until proven guilty, is one of our Constitution’s most progressive provisions. Juror No. 3 (Lee J. Cobb) declares when the panel first convenes in their cramped little room, “It’s an open and shut case. When the first vote is cast, all but one of his fellow jurors — Juror No. 8 — concur. (Henry Fonda).
In this movie, character conflict, dialogue, and body language—rather than actual action—create suspense. The defendant is only briefly shown in one frame, and reason, emotion, and prejudice compete to dominate the scene. It is an example of stylized realism at its finest; the style is evident in the way the photos and editing make observations about the essential elements of the story. When “12 Angry Men” was released in 1957, Technicolor and lavish production costs were standard. Despite receiving rave reviews and a feature in Life magazine, it performed poorly at the box office. However, it has developed a following over time, and in a survey conducted by the Internet Movie Database in 2002, it was ranked 23rd among all-time great movies.
The tale is based on a television play by Reginald Rose, later made into a movie by Sidney Lumet, with Rose and Henry Fonda serving as co-producers and putting up their own money to fund it. The cinematography was done by the seasoned Boris Kaufman, whose credits (“On the Waterfront,” “Long Day’s Journey into Night”) demonstrate a talent for tightening the tension in dialogue exchanges. It was Lumet’s first feature, despite the fact that he had extensive expertise in TV drama.
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Fonda was the only bankable star in the ensemble, but the other 11 actors, including Martin Balsam, Lee J. Cobb, E. G. Marshall, Jack Klugman, Jack Warden, Ed Begley, and Robert Webber, were among the best in New York at the time. They puff on cigarettes, perspire, curse, sprawl, pursue, and become enraged.
The jurors are each given a detailed description in terms of their personalities, backgrounds, occupations, prejudices, and emotional tendencies in just 95 minutes (though at times it seems as though the film is filmed in real time). Particularly regarding the elderly man who claims to have heard the murder and seen the defendant run away and the woman across the street who claims to have seen it happen through the windows of a moving L train, the evidence is contested so thoroughly that we feel we know as much as the jurors.
The jury members argue over the direction of the knife wound as we observe the murder instrument, a switchblade knife. To see if the elderly man, a stroke victim, could have reached the door in time to see the murderer fleeing, we observe as Fonda mimics his shuffled gait. “12 Angry Men” is as meticulous in its inventiveness and the way it weighs one piece of evidence against another that appears contradictory as the conclusion of an Agatha Christie thriller.
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But the goal is not to solve the crime. It involves putting a young guy to death. The movie is timely in light of recent disclosures that numerous convictions for those on Death Row were obtained using tainted evidence. The Fonda character explains, “We’re talking about somebody’s existence here. “We cannot make a decision in five minutes. What if we’re mistaken?
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When we first see the suspect, he appears “ethnic,” but not clearly of any particular group. He might be Mexican, Italian, Turkish, Jewish, Indian, or Arab. He has black circles under his eyes and appears scared and worn out. Some jurors use the phrase “these people” in the jury room. A racist tirade is finally launched by Juror No. 10 (Ed Begley) (“You know how these folks lie. They are born with it. They are unaware of the reality. And let me tell you, they don’t even need a really good cause to murder someone. One juror after another gets up from the judgment table and leaves while turning around as he speaks. Even those who believe the defendant is guilty are unable to remain and take in Begley’s bias. One of the most impactful scenes in the film is this one.
The vote, which starts out being 11 to 1, progressively changes. Even though the film unmistakably supports Fonda’s viewpoint, not all “guilty” voters are depicted negatively. One of the main characters is Juror No. 4, played by E. G. Marshall, a stockbroker with rimless spectacles who relies solely on reason and tries to completely avoid feeling anything. Jack Warden, Juror No. 7, who has tickets to a baseball game, gets impatient and switches his ballot to expedite the process. “Who tells you that you have the right to play like this with a man’s life?” asks juror No. 11, George Voskovec, an immigrant with an accent. No. 11 had previously come under fire for being foreign: “They come over and in no time at all they’re telling us how to run the show.”
In Making Movies, one of the most insightful and educational books about film ever written, Lumet discusses the visual approach of the film. He claims that as he was plotting the film, the idea of a “lens plot” came to him. He decided to progressively switch to lenses with longer focal lengths as the story progressed to make the room appear smaller and closer to the characters.
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Additionally, he adds, “I filmed the first third of the film above eye level, the second third at eye level, and the final third from below eye level. In this manner, the ceiling gradually started to show toward the conclusion. The ceiling was also getting smaller as the sides did. The suspense of the final act of the movie was greatly increased by the feeling of growing claustrophobia. In the film’s last shot, he observes, he used a wide-angle lens “to let us finally breathe.”
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The film functions as a guide for filmmakers curious about how mood is affected by lens choices. ye.commastmastmastmastmastmastmas, and A lower camera is more likely to be controlled by a higher one. As the movie opens, we’re looking down at the actors, and the perspective gives the impression that we can understand and control them. By the time it’s over, they tower over us, and the intensity of their desire overtakes us. Lumet rarely, but successfully, employs closeups: Juror No. 9, Joseph Sweeney, the oldest member of the panel, is one man in particular who is frequently depicted in full frame because he has a knack for getting right to the point and stating the obvious after the others have failed to do so.
“12 Angry Men,” directed by Sidney Lumet, who was born in 1924, marked the start of a career that frequently sought out contentious topics. The Pawnbroker (which depicts the Holocaust), “Fail-Safe” (which depicts an accidental nuclear war), “Serpico” (which depicts police corruption), “Dog Day Afternoon” (which depicts homosexuality), “Network” (which depicts the decline of TV news), “The Verdict” (which depicts alcoholism and malpractice), “Daniel” (which depicts a son being punished for the sins of his parents), “Running on (health care). Also included are plays and a musical. (“The Wiz”). Because of his broad range and inability to be categorized, Lumet is not one of the most well-known American directors. Few filmmakers have continually respected the intelligence of the audience.
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