12 Angry Men (1957)| FREE DOWNLOAD AND WATCH

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The defense and the prosecution have rested and the jury is filing into the jury room to decide if a young Spanish-American is guilty or innocent of murdering his father. What begins as an open and shut case of murder soon becomes a mini-drama of each of the jurors' prejudices and preconceptions about the trial, the accused, and each other. Based on the play, all of the action takes place on the stage of the jury room.

12 Angry Men (1957)

 96 min  -  Drama  -   April 1957 (USA)

12 Angry Men (1957)| FREE DOWNLOAD AND WATCH

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Director: Sidney Lumet

Writer: Reginald Rose (story)

Stars: Henry Fonda, Lee J. Cobb and Martin Balsam | See full cast and crew

12 Angry Men (1957): Summary

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.

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12 Angry Men (1957): Plot

Eddie Taylor (Henry Fonda) leaves his third stretch in prison and walks straight into the arms of his wife to be, Joan (Sylvia Sidney). He vows to leave his criminal ways behind him and make a new life with Joan, but it proves hard to go straight. No-one trusts him and when he appears to have become involved in a deadly bank job, no-one will believe in his innocence (apart from the doting Joan). Eventually they go on the run together, but the odds seem stacked against them.

Director Fritz Lang has a nigh-on peerless resumé. Metropolis, M, The Big Heat, Scarlet Street and this, only his second film made following his move to Hollywood from an increasingly problematic 1930's National Socialist-dominated Germany. Film Noir, Expressionism and big themes of determinism, human nature and destiny – all seemlessly woven through his oeuvre and all very much present in this excellent crime drama.This week's Clip joint is by Emily Cleaver. Think you can do better? If you've got an idea for a future Clip joint, send a message to adam.boult@guardian.co.uk

More than any other medium, film has the power to scare us silly. In the dark of the cinema, the suspense of a slow pan, that shadowy figure at the edge of frame – the shock of a sudden sound-effect, or jittery jump-cut – all come together in delicious, breath-stopping, heartbeat-skipping moments of pure cinematic fear. But forget chainsaws, zombies or psychos. The best scares in cinema are the ghosts that don't rely on gore to frighten. Subtly terrifying, flesh-creepingly sinister or horribly uncanny, here's a roll-call of the most memorable, best-realised apparitions on film.

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