Monday, May 30, 2011


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Three strong believers in the kids guilt emerge. First among them is Lee J. Cobb as an arrogant blowhard who believes that anyone who shows mercy to a kid like this is soft in the head and is shirking his duties as a juror and a member of society. Ed Begley (the older Ed Begley, not the goofball with the electric car) plays a reactionary, racist, us-and-them philosopher who refuses to believe that there is anything to a decision like this beyond looking at the kid and sizing him up and knowing hes rotten to the core. Finally, E.G. Marshall is a methodical, somewhat cynical guy whose careful review of the evidence convinces him that guilt beyond a reasonable doubt has genuinely been proved.

The more moderate jurors are the territory over which Fonda and these men originally argue. Joseph Sweeney is a thin elderly man who at least shares Fondas concern that a discussion is appropriate before a death sentence is handed down. Klugman is a young (really...wait till you see him) kid who was himself raised as a street kid. Warden is an impatient clown who just wants to get out and get to a ball game. Webber is a smooth-talking but easily swayed young airhead. George Voskovec is a friendly businessman who has clearly immigrated relatively recently from somewhere, and who has the perfect response to Begleys complaint about the inability of foreigners to speak good English. Edward Binns is a young tough guy. John Fiedler is a bright, eager young man who remembers a movie title at an important moment. Martin Balsam rounds out the cast as the frustrated foreman of this fractured group. Its a fascinating group of men, and as the discussion begins, the script plays very delicately with the issue of guilt and innocence, as well as with the job of a juror.

What Fonda sets out to do at first is demonstrate that there is more to the case than meets the eye, or at least there could be. He isnt convinced that the kids court-appointed lawyer was exactly exerting himself on the kids behalf, so Fonda almost takes on the role of the defense attorney, suggesting ways that the prosecutions evidence can be explained, and ways that it even contradicts itself. Interestingly, many of the men call on their personal experiences during the deliberations, with one explaining how old men feel about being alone and unimportant, another expounding on the mechanics of knife-fighting, and another explaining that no one wears eyeglasses to bed.

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What is so wonderful about this movie is that the script is a marvelous balance of these men talking about the evidence and these men talking about each other and how the deliberations are going. Alliances are formed and break apart, heated debates lead to interesting revelations, and a couple of big moments (one of which involves the discovery that Fonda has done something that the jury instructions almost certainly would have told him not to do) provide suspense and surprise.

The acting is absolutely superb -- probably the most effective large ensemble cast I can remember seeing. There are quite literally no weak links, and its no coincidence that several of these actors (including Warden and Klugman) became significantly more famous after this movie than before. Most of all Fonda, who also produced, is a model of the Smart Leading Man, sort of in the Gregory Peck mold, and his conviction and growing passion for his cause is riveting.

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