12 Angry Men Subtitles English
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The cast included only one bankable star, Fonda, but the other 11 actors were among the best then working in New York, including Martin Balsam, Lee J. Cobb, E. G. Marshall, Jack Klugman, Jack Warden, Ed Begley and Robert Webber. They smoke, they sweat, they swear, they sprawl, they stalk, they get angry.
The jury of twelve 'angry men,' entrusted with the power to send an uneducated, teenaged Puerto Rican, tenement-dwelling boy to the electric chair for killing his father with a switchblade knife, are literally locked into a small, claustrophobic rectangular jury room on a stifling hot summer day until they come up with a unanimous decision - either guilty or not guilty. The compelling, provocative film examines the twelve men's deep-seated personal prejudices, perceptual biases and weaknesses, indifference, anger, personalities, unreliable judgments, cultural differences, ignorance and fears, that threaten to taint their decision-making abilities, cause them to ignore the real issues in the case, and potentially lead them to a miscarriage of justice.
[Note: A few of the film's idiosyncracies: Even in the 50s, it would have been unlikely to have an all-male, all-white jury. However, it's slightly forgivable since the play made the jury and trial largely symbolic and metaphoric (the jurors were made to represent a cross-section of American attitudes towards race, justice, and ideology, and were not entirely realistic.) The introduction of information about the defendant's past juvenile crimes wouldn't have been allowed. Jurors # 3 and # 10 were so prejudiced that their attitudes would have quickly eliminated them from being selected during jury review. And it was improper for Juror # 8 to act as a defense attorney - to re-enact the old man's walk to the front door or to investigate on his own by purchasing a similar knife. The 'angry' interactions between some of the jurors seem overly personal and exaggerated.]
This classic, black and white film has been accused of being stagey, static and dialogue-laden. It has no flashbacks, narration, or subtitles. The camera is essentially locked in the enclosed room with the deliberating jurors for 90 of the film's 95 minutes, and the film is basically shot in real-time in an actual jury room. Cinematographer Boris Kaufman, who had already demonstrated his on-location film-making skill in Elia Kazan's On the Waterfront (1954) in Hoboken, and Baby Doll (1956) in Mississippi, uses diverse camera angles (a few dramatic, grotesque closeups and mostly well-composed medium-shots) to illuminate and energize the film's cramped proceedings. Except for Henry Fonda, the ensemble character actors were chosen for their experience in the burgeoning art of television.
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