a “12 Angry Men“ analysis
A Film Analysis of “12 Angry Men”
12 Angry Men revolves around twelve jurors deciding the fate of an 18-year-old boy accused of murdering his father. The judge tells the audience at the beginning that if the jurors conclude that the boy is guilty without any reasonable doubt, then he would be executed. The jurors are then sent to decide on the case. Off the bat, eleven of the twelve jurors vote guilty, besides one man, juror #8. After holes are poked into the story and some serious debate, the other men slowly become convinced that the boy is “not guilty”. Conflict occurs when some of the jurors do not wish to participate or even have their own agendas. Towards the end, the stubborn jurors have their personal breakthroughs. This leads to a majority having reasonable doubt. Unanimously, the jurors vote not guilty. The boy is not executed.
This story works well as a narrative film as its compelling storytelling utilizes narrative aspects. Such as the plot relying on a series of information that is slowly revealed. This information entices the jurors to have a reasonable doubt. It also follows the typical pattern where problems arise, conflict occurs, and resolutions are made.
When deciding if the film style aligns with German expressionism, French impressionism, or surrealism, it helps to understand what it is not. It is not a surrealist film. 12 Angry Men is noted to be an American film classic due to its storyline. Because of its linear nature, it cannot necessarily be surrealist. The film had several opportunities to align with French impressionism. But it failed to enter the character’s subconscious, even when the opportunity presented itself. Such as through b-roll. Like when the old man talks about a memory of the witness (1:24:00). The closest to understanding how a character felt was done through blocking and composition. Although all but three minutes of the film was shot in the same room, Director Sidney Lumet still managed to contribute to the mise-en-scene. And emotions of what the characters are feeling are provoked through the mise-en-scene. Such as towards the end when juror #10 criticizes the 18-year-old boy because of his ethnicity. (1:19:00) Lumet uses composition and blocking to show that the other jurors are no longer listening to him. Another example is how shots get tighter and tighter as the conflict grows (as seen as early as (0:29:00)). Lumet said that his “intention in using these techniques with cinematographer Boris Kaufman was to create a nearly palpable claustrophobia.” (“Broadway”).
12 Angry Men was co-produced by the screenwriter Reginald Rose and star actor Henry Fonda (Hollinger). It was distributed by United Artists in 1957. Henry Fonda, an early American actor, only produced this one film in his entire career (“12”). Fonda said that the stress from producing this film was enough experience. Both Rose and Fonda combined, for the only time, under the name Orion-Nova Productions (Hollinger). When producing this film, they decided to defer their salaries to save money. “Fonda had been a fan of Reginald Rose's teleplay since its original broadcast in 1954” (“12”).
As it was Rose’s and Fonda’s first production, it was their director Sidney Lumet’s first film as well (“Broadway”). Lumet had started their career as a director of photography. Then he moved into directing TV shows when he had the opportunity to work on 12 Angry Men. His directing won some foreign awards (“12”). He also received “Oscar nominations for Best Picture Director and Adapted Screenplay.” As much as the film centers around 12 angry men, there were certain roles that are considered key cast members. Such as the original juror to say “not guilty” was played by the producer Henry Fonda. Antagonist until the end, Lee J. Cobb.
Not being adjusted for inflation, the film cost $337k to produce (Hollinger). It was shot in New York over a month. However, despite its critical success, during the time of its release, it did not do well domestically. “The film still lost money and Fonda never received his deferred salary”(“Broadway”). Fonda later said that he did not mind his loss as “he was proud of the film’s status as an American classic.” Although it did do well in foreign countries. Justice was found at its win of “First Prize at the Berlin Film festival and other international awards”(“12”). And even winning “Oscar nominations for Best Picture, Director and Adapted Screenplay, and its enduring acknowledgment as a classic of cinema.”
Producer Fonda had a disproval for how United Artists handled the distribution of the film (American). He went as far as to feel “that the studio's approach had deprived the film of a chance at financial success”. Fonda originally wanted it to be presented to a small audience, and then grow from there (“12”). His dream was to “watch it build from art-house to popular success”. So one of his problems with United Artist was that they placed the film “in theaters too large for a "small" film to fill” (American). The film premiered at the no-longer-existing Capitol Theatre which holds over four hundred seats (“12”). Unfortunately, it only filled the first few rows. Which made the theatre pull the movie after a week. Another problem Fonda had was that the film did not rerelease after winning several awards (American).
Although the film may not have been financially successful, it has become an American classic. Which even Fonda accepts as a form of repayment. Its impressive linear storytelling enhances the narrative aspect. And the blocking of the jurors creates a mise-en-scene in a seemingly limited room. 12 Angry Men serves as a reminder that good storytelling (and some beautiful composition) can go a long way.
BIBLIOGRAPHY
American Film Institute. 12 ANGRY MEN (1957). AFI Catalog. https://catalog.afi.com/Catalog/moviedetails/53690
Broadway Buzz: 12 Angry Men. Playhouse Square. Retrieved from https://web.archive.org/web/20090106012115/http://www.playhousesquare.org/bbuzz/12angrymen/d-evolution.html
Hollinger, H. (1958). Telecast and Theatre Film, Looks As If “12 Angry Men” May Reap Most Dough as Legit Play. Variety. Retrieved from Internet Archive website: https://archive.org/details/variety213-1958-12/page/n263/mode/1up?view=theater
12 Angry Men. Turner Classic Movies. https://www.tcm.com/watchtcm/titles/94081
