12 Angry Men (1957)

Réalisateur:

Sidney Lumet

Scénaristes:

Reginald Rose (story)
Reginald Rose (screenplay)

Date de sortie:

29 juillet 1957 (Sweden)

Genre:

Crime | Drame | Mystère

Accroche:

Life Is In Their Hands -- Death Is On Their Minds!

Intrigue:

A dissenting juror in a murder trial slowly manages to convince the others that the case is not as obviously clear as it seemed in court.

Plot Keywords:

Murder | Jury | Trial | Jury Room | Restroom

Récompenses:

Nominated for 3 Oscars. Another 13 wins & 6 nominations

Avis des utilisateurs:

No Dissonance

Ensemble

Martin Balsam	...	Juror #1
John Fiedler	...	Juror #2
Lee J. Cobb	...	Juror #3
E.G. Marshall	...	Juror #4
Jack Klugman	...	Juror #5
Edward Binns	...	Juror #6
Jack Warden	...	Juror #7
Henry Fonda	...	Juror #8
Joseph Sweeney	...	Juror #9
Ed Begley	...	Juror #10
George Voskovec	...	Juror #11
Robert Webber	...	Juror #12
reste de la distribution par ordre alphabétique:
Rudy Bond	...	Judge (uncredited)
James Kelly	...	Guard (uncredited)
Billy Nelson	...	Court Clerk (uncredited)
John Savoca	...	The Accused (uncredited)

Réalisé par
Sidney Lumet

Scénaristes
Reginald Rose		(story)
Reginald Rose		(screenplay)

Produit par
Henry Fonda	....	producer
George Justin	....	associate producer
Reginald Rose	....	producer

Musique originale
Kenyon Hopkins

Image
Boris Kaufman		(director of photography)

Montage
Carl Lerner

Direction artistique
Robert Markel

Maquillage
Herman Buchman	....	makeup artist

Assistant réalisateur
Don Kranze	....	assistant director (as Donald Kranze)

Technicien du son
James A. Gleason	....	sound
Al Gramaglia	....	sound re-recording mixer (uncredited)

Caméra et Département Electrique
Saul Midwall	....	camera operator

Département Musique
Kenyon Hopkins	....	conductor

Divers
Faith Hubley	....	script supervisor (as Faith Elliott)

Companies de production

• Orion-Nova Productions

Distributeurs

• Shochiku Select (1959) (Japan) (theatrical)
• United Artists (1957) (USA) (theatrical)
• 20th Century Fox Home Entertainment Japan (2001) (Japan) (DVD)
• 20th Century Fox Home Entertainment (2003) (Brazil) (DVD)
• Criterion Collection, The (USA) (laserdisc)
• MGM Home Entertainment (2001) (Germany) (DVD)
• MGM Home Entertainment (2007) (USA) (DVD)
• MGM/UA Home Entertainment (DVD)
• MGM/UA Home Entertainment (VHS)
• Metro-Goldwyn-Mayer (MGM) (video)
• Varus Video (Russia) (VHS)

Autres Companies

• Solters & Digney  publicity

Autre(s) titre(s):

Twelve Angry Men (USA) (alternative spelling)

Durée:

96 min

Pays:

USA

Langue:

Anglais

Couleur:

Noir et Blanc

Rapport de forme:

1,66 : 1

Son:

Mono

Classification:

South Korea:12 | Brazil:Livre | Argentina:Atp | Australia:G | Finland:K-8 | Sweden:15 | UK:U | USA:Approved (certificate #18206) | West Germany:12

Lieux de tournage:

New York, USA

Société:

Orion-Nova Productions

Anecdotes:

In 1957, United Artists distributed this film on a double bill with Five Steps to Danger (1957) starring Ruth Roman and Sterling Hayden.

Goofs:

Divers: When Juror #8 wants to time how long it would take an injured man to walk down the hall, Juror #2 starts and stops the timing and announces it as "exactly 41 seconds". In reality, and considering that the scene does not cut away, the time is 30 seconds.

Guillemet:

[first lines]
[In a tedious manner, sounding bored and tired]
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...

Connexions De Film:

Référencé sur "Mystery Science Theater 3000: The Magic Sword (#5.11)" (1992)

No Dissonance

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.