Why 12 ANGRY MEN Is Such An Important Film

A superbly told story, while entertaining, can also stimulate us to examine ourselves closely. One of the best ways to get a person to reflect upon themselves in such a way is to be relatable. 12 Angry Men is a very relatable film (Dir. Sidney Lumet. Perf. Henry Fonda, Lee J. Cobb, Ed Begley. United Artists 1957).

No matter what your station in life - your gender, your nationality, your religion, your view on politics - you will find some aspect of yourself reflected back in one or more of the characters in this movie. You will see men who are fair, who search for facts, who rely on opinions, who are swayed easily by the crowd, who are prejudiced, who take things too personally. The film reveals how some of the men are moved to change their original viewpoints based on the facts and the realization that they have based their decision on personal feelings, while others’ apparent change seems based upon expectation by their peers.

One of the film’s most compelling scenes involves a man (performed superbly by Ed Begley) fervently imploring the other 11 to echo his opinion. One by one, the others rise from their seats and turn their backs on him. It is the first time we see the majority of the jurors unified for the same reason. The man’s race-based rantings, it is agreed, are not worth sharing and have no place in this room. Humiliated, perhaps ashamed, the lone man slumps into his chair. He utters not a single word again, save to give his last, and sincerely changed, vote of not guilty.

By the end of the movie, I was both satisfied and unsettled. I would like to think that I would be the kind of person to stand against something I feel is wrong, even if my viewpoint is not a popular one. As I watched the movie, however, I felt sympathetic to characters who were in conflict with the man who first stood up against the crowd (perf. Henry Fonda). I related to the few who seemed to want to do the right thing but who at first remained silent out of fear. I also questioned if I would stubbornly stick with the wrong sentiment, because it is influenced by my own personal feelings and experiences. One such example is the man who held onto his vote of “guilty” up until the very last, and we find out that the reason why is because the defendant reminded him of the heartbreak he had for his own estranged son (perf. Lee J. Cobb).

I feel that this movie is important for people to watch, because it compels us to reflect deep within and ask ourselves which man or woman would we be. Who would I be? Would I be the first person to stand up when I feel something is wrong, or would I be apathetic? Would I base my decision on what the facts are? Would I be moved primarily by others’ opinions? I believe these self-reflecting questions are important to ask ourselves and watching this movie is a good incentive to do that.

AMERICAN HISTORY X and PRECIOUS - comparing media to analyze factors contributing to the self-identity of urban youth

Two movies that are useful for analyzing specific examples of the socio-economic factors which shape the formative identity of youths growing up in large cities and how they ultimately are transformed are the independent films, AMERICAN HISTORY X (Dir. Tony Kaye. Perf. Edward Norton, Edward Furlong, Beverly D’Angelo. 1998) and PRECIOUS (Dir. Lee Daniels. Perf. Gabourey Sidibe, Mo’Nique, Paula Patton. 2009.)

An important historical context given in AMERICAN HISTORY X is the Rodney King Riots which happened in South Central Los Angeles, circa spring of 1992, in which ethnic minorities made up the majority of the victims. In the film, we see Danny Vinyard (the younger brother of a skinhead living in a suburban area of Los Angeles) whom he remembers leading a small mob of rioters into vandalizing a business owned by an Asian man who employs Hispanics. In comparison, PRECIOUS (adapted by Sapphire’s novel, PUSH) portrays an overweight black teenage girl named Claireece Jones, (Gabourey Sidibe), who goes by her middle name “Precious” and lives in a low-rent apartment in New York City. They both have been victims of extreme violence (Danny’s father having been killed by a minority while on the job and Precious attacked by young men while she is walking down the street.) With the loss of his brother (who is imprisoned for 3 years due to a hate crime witnessed by Danny) and his mother (Beverly D’Angelo) in increasingly frail health, Danny turns to Cameron (Stacy Keach), the leader of the Neo-Nazi gang his brother formerly belonged to for guidance. When Derek is released from prison, he rescues Danny from a rally, confronts Cameron and then compels his brother, Danny, to leave that way of life by telling him what happened to him in prison (being raped by a gang of Neo-Nazis and befriended by his laundry partner, a black male) which led to his transformation of thinking. The image of the two of them stripping away the White Nationalist paraphernalia that decorates the walls of Danny's bedroom, as though they are removing layer after layer of dead useless skin, is a powerfully visceral one. At the end of the scene, they are both standing together silently staring at the now clean wall with an unknown identity that has not yet been cultivated and, like new skin after an old scab has been removed, both are left feeling uplifted yet more vulnerable as a result.

As for Precious, one of the most moving scenes is also one without dialogue. On her way out to school, she views herself in the mirror and the reflection we see looking back is that of a slender blonde white female dressed identically to Precious, down to the single hair curler resting on her forehead. Precious gazes at this imagined alternative identity, gives a sigh, and then walks out. Her transformation is encouraged by the feeling of love she gets from her teacher (Paula Patton) and the emotional support of her fellow classmates in the alternative school she is sent to, where there is a feeling of solidarity among this talented, albeit misfit, group of young women. She begins to have confidence in her imagination and storytelling skill and knows that if she continues her education and learns to write, she can improve her life and progress beyond her given circumstance. In similarity, both the Vinyard brothers are encouraged by their professor (Avery Brooks) for being intelligent students with a gift for writing and having the right charisma for leadership, which should be used for positive influence.

In the final scene of American History X, Derek’s brother, Danny, is shot and killed by a young African-American male, so it could be reasoned that Derek might revert to his former skinhead way of thinking, but most likely he recognizes his own role in the fallout of these events and can choose to influence the future by his own thinking and actions. Likewise, we see Precious leaving her domineering welfare-abusing mother (Mo’Nique) and walking away, holding her childrens’ hands, determined to continue her education so that she can get a job and provide for them.

Works Cited

“Identity and Inner-City Youth: Beyond Ethnicity and Gender.”
  Heath, Shirley Brice, Ed.; McLaughlin, Milbrey W., Ed
“Urban Youth Culture: Forging a New Identity”
Youth Supplement. Growing Up Urban. www.unfpa.org/swp/2007
“American Politics and Pop Culture”
Lung, Katherine, April 24, 2008
“Socioeconomic Disadvantage and Child Development”
McLoyd, Vonnie C. American Psychologist, Vol. 53 (2) Feb. 1998 185-204
“Globalization, Culture, and Neighborhood Change”
Mele, Christopher. State University of New York at Buffalo