Genre: Crime, Drama
Relase Date: Aprill 1957
Director: Sidney Lumet
Runtime: 1h 36min
Movie Bio : In form, “12 Angry Men” is a courtroom drama. In purpose, it’s a crash course in those passages of the Constitution that promise defendants a fair trial and the presumption of innocence. It has a kind of stark simplicity: Apart from a brief setup and a briefer epilogue, the entire film takes place within a small New York City jury room, on “the hottest day of the year,” as 12 men debate the fate of a young defendant charged with murdering his father.
The film shows us nothing of the trial itself except for the judge’s perfunctory, almost bored, charge to the jury. His tone of voice indicates the verdict is a foregone conclusion. We hear neither prosecutor nor defense attorney, and learn of the evidence only second-hand, as the jurors debate it. Most courtroom movies feel it necessary to end with a clear-cut verdict. But “12 Angry Men” never states whether the defendant is innocent or guilty. It is about whether the jury has a reasonable doubt about his guilt.
The principle of reasonable doubt, the belief that a defendant is innocent until proven guilty, is one of the most enlightened elements of our Constitution, although many Americans have had difficulty in accepting it. “It’s an open and shut case,” snaps Juror No. 3 (Lee J. Cobb) as the jury first gathers in their claustrophobic little room. When the first ballot is taken, 10 of his fellow jurors agree, and there is only one holdout–Juror No. 8 (Henry Fonda).
This is a film where tension comes from personality conflict, dialogue and body language, not action; where the defendant has been glimpsed only in a single brief shot; where logic, emotion and prejudice struggle to control the field. It is a masterpiece of stylized realism–the style coming in the way the photography and editing comment on the bare bones of the content. Released in 1957, when Technicolor and lush production values were common, “12 Angry Men” was lean and mean. It got ecstatic reviews and a spread in Life magazine, but was a disappointment at the box office. Over the years it has found a constituency, however, and in a 2002 Internet Movie Database poll it was listed 23rd among the best films of all time.
The story is based on a television play by Reginald Rose, later made into a movie by Sidney Lumet, with Rose and Henry Fonda acting as co-producers and putting up their own money to finance it. It was Lumet’s first feature, although he was much experienced in TV drama, and the cinematography was by the veteran Boris Kaufman, whose credits (“On the Waterfront,” “Long Day’s Journey into Night”) show a skill for tightening the tension in dialogue exchanges.