Die zwölf Geschworenen

Originaltitel: 12 Angry Men

1957
12
1 Std. 36 Min.

IMDb-BEWERTUNG

9,0/10

898.446

IHRE BEWERTUNG

BELIEBTHEIT

328

Henry Fonda, Martin Balsam, Jack Klugman, Lee J. Cobb, Ed Begley, Edward Binns, John Fiedler, E.G. Marshall, Joseph Sweeney, George Voskovec, Jack Warden, Robert Webber, and Rolf Goetze in Die zwölf Geschworenen (1957)

The jury in a New York City murder trial is frustrated by a single member whose skeptical caution forces them to more carefully consider the evidence before jumping to a hasty verdict.

trailer wiedergeben2:14

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99+ Fotos

Legal Drama Psychological Drama Crime Drama

Ein Mitglied der Geschworenen stimmt nicht schuldig, um ein Fehlurteil zu verhindern, und versucht die Mitgeschworenen dazu zu bringen, die Beweise noch einmal zu überprüfen.Ein Mitglied der Geschworenen stimmt nicht schuldig, um ein Fehlurteil zu verhindern, und versucht die Mitgeschworenen dazu zu bringen, die Beweise noch einmal zu überprüfen.Ein Mitglied der Geschworenen stimmt nicht schuldig, um ein Fehlurteil zu verhindern, und versucht die Mitgeschworenen dazu zu bringen, die Beweise noch einmal zu überprüfen.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

9,0/10

898.446

IHRE BEWERTUNG

BELIEBTHEIT

328

Siehe Produktionsinformationen bei IMDbPro

Am besten bewerteter Film #5

Für 3 Oscars nominiert
- 16 Gewinne & 12 Nominierungen insgesamt

Judge
(Nicht genannt)

Tom Gorman

Stenographer
(Nicht genannt)

James Kelly

Guard
(Nicht genannt)

Billy Nelson

Court Clerk
(Nicht genannt)

John Savoca

The Accused
(Nicht genannt)

Walter Stocker

Man Waiting for Elevator
(Nicht genannt)

Handlung

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Wissenswertes
Director Sidney Lumet had the actors all stay in the same room for several hours on end and do their lines over and over without filming them. This was to give them a real taste of what it would be like to be cooped up in a room with the same people.

Patzer
Within the last half hour of the movie, the clock on the wall in the jury room can be seen indicating 6:15. Several minutes later, E.G. Marshall states that it is "a quarter after six". Several minutes after that, the wall clock is seen again, but still shows 6:15. Still later, when Lee J. Cobb leans over the table after he tears up the snapshot from his wallet, his watch can be seen indicating 5:10.

Zitate
Juror #8: Let me ask you this: Do you really think the boy'd shout out a thing like that so the whole neighborhood could hear him? I don't think so - he's much too bright for that.
Juror #10: Bright? He's a common ignorant slob. He don't even speak good English.
Juror #11: [who has a foreign accent] He *doesn't* speak good English.

Crazy Credits
At the end of the film, the actors are billed in order of their juror numbers; thus Henry Fonda, although the star of the film, appears 8th.

Alternative Versionen
The United Artists logo is plastered with black and white versions of the MGM/UA Communications Co./1987 United Artists logo in the 1990 VHS, and 1994 variant in the DVD. But in the 2008 DVD and some TV prints, it featured the colorized opening and closing MGM logos.

Verbindungen
Edited into Voskovec & Werich - paralelní osudy (2012)

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

Benutzerrezensionen2.2K

Rezension

Ausgewählte Rezension

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.