reasonable doubts
by Douglas Messerli
Reginald Rose (screenplay, based on
his teleplay), Sidney Lumet (director) 12
Angry Men / 1957
A tired and disinterested judge
gives the jury his final summation, and they are locked away in the concrete
box called the jury room. It is a hot and humid day, about to rain, and the fan
does not seem to work; the windows are difficult to lift. The twelve men about
to sit down to decide the fate of a young teenage boy are, as the title
suggests, all angry—except perhaps for three or four who gradually reveal more
temperate personalities.
Director Sidney Lumet shoots these early scenes from high above, with
the camera looking down on these seemingly insignificant beings. Gradually, as
they begin to discuss the case, the camera joins them, closing in upon their
faces until the audience is made to feel the claustrophobic atmosphere of this
intense space.
The intent of Reginald Rose's teleplay transformed into screenplay,
quite obviously, is to give credence to American jurisprudence, to demonstrate
the importance in the process of the twelve jurors to reach a unanimous
viewpoint before convicting a man.
For me, however, the slow unmasking of Juror #8's eleven opponents is
absolutely horrifying. What Rose's work reveals is just how strongly bigotry,
personal jealousies, selfishness, fear, and just plain ignorance influence a
jury's, any jury's, decisions. The fact that there is not a single man of color
on this jury (white immigrant Juror #11, George Voskovec, substitutes) and no
women represented may account for some of the open hostility expressed,
particularly by Juror #10 (Ed Begley) and sadistic and failed father (Lee J.
Cobb). The 1957 film seems to indicate, however, that even these kinds of men,
given the rational consensus-building of Juror #8, can be turned around or, at
least, made temporarily to see their own mistakes. Yet one finds it hard to
believe that this rather soft-spoken individual could sway the votes of some of
these unreasonable beasts. Today in our highly polarized political society that
would certainly be near impossible.
Perhaps that's why it is so important to have the protection of
unanimity, but what it suggests is that, whatever the outcome of the process,
true justice is a nearly impossible thing to accomplish, particularly given, in
this instance, Fonda's concession after the first round of discussions to go
along with the others if there is not another one among them who will change
his vote. Certainly Juror #8 would not today have been permitted to explore his
own investigation by locally buying a knife similar to the one that killed the
boy's father, and he would never today be allowed to bring it into court. I
fear, moreover that, in reality, some jurors might join with the majority, as
does Juror #7 (Jack Warden), simply to escape the process and get to a beloved
baseball game or other event.
Yet we do know that some people having served jury duty describe the
experience as uplifting and even spiritually moving, and believe that the men
and women with whom they served tried as best they could to make a fair and
just decision. Perhaps Americans are not
as truly divisive and inwardly angry as writers and the media portray them.
If so, it seems even stranger that 12
Angry Men—which I recently revisited on the television screen—is so
routinely touted as an American classic, a work chosen, for example, for
preservation in the United States National Film Registry as being
"culturally, historically, or aesthetically significant." Rose's
depiction of the jury process is a fairly mannered expression of a series of
different viewpoints, as well, as I've argued, as representing a frightening
vision of the American common man, unless we see Fonda as the only paragon.
And, if so, who are all those other men filled with such anger, even hate? Why
is it that today more Americans are in jail than almost any other country in
the world? Maybe the accused might be better served by the admission, as in
some cultures, that no group can truly be unanimous when it comes to innocence
or guilt.
Los Angeles, April 1, 2010
Reprinted from American Cultural Treasures (April 2010).
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