12 Angry Men Review (Classic Write-Up)

Now That We're Men

Sometimes, movies need a grand scope to tell their stories, but other times, there's certain plotlines that only need a room, 12 individuals and a court case that's far more complex than it seems to really get it rolling. As you might have guessed, those are the elements at the center of 12 Angry Men, a 1957 release from director Sidney Lumet that utilizes straightforward storytelling entities to create complexity and a captivating atmosphere.

Lumet obviously has an eye for how visuals can enhance a movies themes and ideas, just look at how he decides to go for a black-and-white coloring for the film. This choice seems to be done in order to reinforce the way most of the 12 jurors feel about the case at the start of the movie, with most seeing the various aspects of the case in black-and-white terms, and finding the 18 year old suspect guilty. Only Juror #8 (Henry Fonda) sees reasonable doubt in the proceedings.

The way the various jurors interact as they come to terms with new revelations in the case is masterful to watch, Reginald Roses script does an excellent job not letting any member of the group go to waste, with each individual receiving a unique personality that influences their decisions in the case. Just look at how Juror #3 (Lee J. Cobb) becomes a source of antagonism for many in the jury, with a tragic backstory revealed at the conclusion of the motion picture that conveys an explanation for every one of his decisions during the story without even saying a word.

Besides getting across pathos, the script also manages to make every new twist and turn in the case feel earned, and not in the slightest bit contrived. It's a tough act to balance, but it's pulled off beautifully, primarily because the story forgoes trying to make the twists sensational or over-the-top.
Instead, it's the little things, like the sound of a train going by, that open up previously unseen cracks in the case. To say watching these proceedings put me on the edge of my seat is truly an understatement.

Setting the film in one room for 99% of the tale is a bold move that pays off in dividends, as letting these strangers bounce off each other in a small space lacking air conditioning allows for tension to increase and the characters to gain depth by interacting with one and another. It's the sort of well thought-out move that pops up frequently in 12 Angry Men, showing a palpable sense of dedication to its craft.