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12 Angry Men (1957)

Not Rated | | Crime, Drama | April 1957 (USA)
A jury holdout attempts to prevent a miscarriage of justice by forcing his colleagues to reconsider the evidence.

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Writers:

(story), (screenplay)
Popularity
446 ( 29)

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Top Rated Movies #5 | Nominated for 3 Oscars. Another 16 wins & 8 nominations. See more awards »

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Cast

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Joseph Sweeney ...
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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. Written by pjk <PETESID@VNET.IBM.COM>

Plot Summary | Plot Synopsis

Taglines:

They have twelve scraps of paper... Twelve chances to kill! See more »

Genres:

Crime | Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Official Sites:

Country:

Language:

Release Date:

April 1957 (USA)  »

Also Known As:

12 Angry Men  »

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Box Office

Budget:

$350,000 (estimated)
See more on IMDbPro »

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Technical Specs

Runtime:

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Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

According to Jack Klugman (Juror #5) in the making-of documentary on the Special Edition DVD, his character was supposed to be about 20-21 years old and olive complexioned (possibly Italian), thereby giving more weight to his speech about being a "slum kid" and having a knowledge of switchblade knives. Klugman wasn't sure he was right for the part, given that he was 35 at the time and is Caucasian/White, but he was reassured by Sidney Lumet that it would still work. See more »

Goofs

When the jurors take a washroom break, Juror #6 is fiddling with the fan's cord and eventually leaves it dangling a couple of feet from the fan. As Juror #8 comes out of the washroom, the cord is not dangling and is never seen again. Even when Juror #7 plugs it in after the light switch is turned on, there is no extra cord from the fan seen at all. See more »

Quotes

[first lines]
Man in corridor: You did a wonderful job, wonderful job!
Judge: To continue, you've listened to a long and complex case, murder in the first degree. Premeditated murder is the most serious charge tried in our criminal courts. You've listened to the testimony, you've had the law read to you and interpreted as it applies in this case, it's now your duty to sit down and try to separate the facts from the fancy. One man is dead, another man's life is at stake, if there's a reasonable doubt in your minds as to...
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Crazy Credits

The credits only credit the jurors. All other actors in the film (judge, bailiff, accused, etc.) go uncredited. See more »

Connections

Referenced in Happy Days: Fonzie for the Defense (1978) See more »

Soundtracks

Dance of the Cuckoos
(uncredited)
Music by Marvin Hatley
Portion whistled by Jack Warden
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User Reviews

No Dissonance
26 April 2001 | by See all my reviews

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.


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