12 Angry Men

During a trial, a juror hypothesizes that the man on trial may not be guilty. He tries to convince the other eleven jurors.

 

What an incredible tour de force by Sidney Lumet. All the action takes place in one room, where Henry Fonda plays the eighth juror, the one whose "reasonable doubt" and well-thought-out resistance will gradually lead him to convince the other eleven to reconsider their quick verdict of guilt, which they have pronounced against a young man accused of murder. The theatrical direction is a real asset, the claustrophobic atmosphere of the film is gripping. Each actor is perfectly cast, whether it is Lee J. Cobb or of course Henry Fonda, once again grandiose and he fits his role brilliantly. It's a real lesson in cinema that Lumet offers us, how to captivate, fascinate while giving food for thought, in a film that takes place in a single room and without real suspense. Great art and a brilliant masterpiece

55 years old and all his teeth. "12 Angry Men" is one of those films that, despite the passage of time and changing cinematic techniques, do not lose their initial impact. The very first film by the late Sidney Lumet (who would go on to make "An Afternoon of Dogs", "Serpico", "Murder on the Orient Express", "7:58 on Saturday"), this psychological drama filmed like a suspenseful thriller is intense, very intelligent, and makes the viewer doubt the film's jurors. The jurors' personalities are remarkably well studied, so well portrayed that they appear terribly realistic, and they remain anonymous and easy to get attached to (they have no names, only their jury numbers). We ask ourselves questions at the same time as them, we listen to their arguments and objections as attentively as if we were in the room, the tour de force is such that we almost wish we could participate in the debates! We find ourselves stuck in this cramped office, suffocating under the heat of the difficult outcome to be chosen, lost under the storm that is raging over our heads. The tension never ceases to mount during this stifling in-camera film, in which Lumet already showed a fine aptitude for fluidity and mastery of his direction, and threw his favorite themes in our faces: the terrible machine for crushing men that is the system, the weight of the responsibilities that we have to take on, the selfish nature of men to prefer their own little interests... Guilty of being a masterpiece!

Q