12 Angry Men (1957)

12 angry men

’12 Angry Men’ is a true timeless classic.

The film examines prejudice and the sheer callousness of human behaviour, issues which will forever be relevant. After being retired by a seemingly indifferent judge, a vote declares that 11 out of the 12 jurors are happy to see the accused, an 18-year-old Latino from the slums, be executed by the state. Initially this seems unremarkable, you assume that they all have good reasons for their verdict. However it’s soon apparent that most of the jurors have just glossed over the facts, reaching their damning conclusion because they ‘just think he’s guilty’ – there’s even one juror who can’t wait to leave the room so he can go to a baseball game.

Only Juror #8 (Henry Fonda) is disturbed by the hastiness of it all; he doesn’t know whether the kid is guilty, he just wants to at least talk about it before the jury so swiftly condemns him to death.

I’ve praised films such as ‘Killer Joe’ for their success in engrossing its audience despite much of its story occurring in very few locations. However, compared to ’12 Angry Men’, ‘Killer Joe’ is a veritable action adventure – this legal drama never leaves the jury room. Its success in gripping its audience and fully involving them in the characters and plot is a masterful achievement of writer Reginald Rose.

At the table sits a spectrum of personalities, all of whom you can identify and resonate with. Some are measured, some are fickle, some are blinkered and one or two are downright pig-headed and obnoxious. The natural, timeless performances allow you to cross-examine them; they are all personalities one has come across before, and the viewer can probably draw parallels to people they know – this is one of the film’s core strengths.

Sidney Lumet’s debut feature is to be lauded for its reserve and lack of sensationalism. There may be those who doubt the credibility of the some of the case developments, but to my relief, I personally found few if no traces of hyperbole or implausibility.

’12 Angry Men’ is a film that I truly admire, a timeless classic that deserves the attention of all generations – it will continue to live on as many of its contemporaries continue to date.

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Drive (2011)

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Gosling stomps his ‘Notebook’ past in the face.

Seldom has my opinion on a film changed so drastically.

I first saw the film in Romford on the way back from picking up my new car in Enfield, North London. Getting there had been hell. I was on the M25 and running late, but I decided to commit to seeing it, so I left the motorway and began to penetrate the Essex town. To my intense frustration, the roads were full of road works and were subsequently jammed, but by then it was too late to turn back, I had to see it through. Once the road works finally ended, the sat-nav kindly took me straight through the middle of the Romford shopping area, which was a cobbled street full of people, a place where I’m pretty sure cars weren’t allowed – I must have looked a right berk.

After much embarrassment and stress, I finally found the cinema and arrived at the screening just seconds before it began. The timing was great; however I was now in no mood to be watching a film.

‘Drive’ has a very simple premise. Ryan Gosling is ‘The Driver’, a quiet, enigmatic mechanic and stunt driver who moonlights as a getaway driver for the underworld. His lonely existence changes when he meets Irene (Carey Mulligan), a sweet young mother who lives down the corridor from him. There is a clear connection between them, however her husband Standard (Oscar Isaac) returns from prison before their not-so-platonic friendship comes to fruition. Standard is being stalked and threatened by criminals, to whom he owes a mounting debt, a debt which can only be paid through a pawn shop heist. For the sake of Irene and Benicio’s safety, The Driver conscientiously lends his getaway skills to the job, which of course goes horribly awry.

Gosling’s performance is good, he has a steely aura about him that is cold and convincing. However, I don’t think one should get carried away when steeping him in praise, I felt it wasn’t a particularly demanding role. While it is clear that he fits the mould of the laconic anti-hero, I was slightly bothered by the extent of his utter lack of conversational skills, particularly when he’s speaking to Irene. There are moments that are so painfully awkward that it could test the plausibility of their relationship. Gosling is reminiscent of Clint Eastwood’s iconic ‘Man with no name’ roles, but I also made a connection with Dustin Hoffman’s performance in ‘Rain Main’.

I was very ambivalent about the film. I liked the exciting car chase in the introduction, I liked Cliff Martinez’s stylish, haunting soundtrack; I also liked the visuals and the film’s unforgiving, visceral nature. The film is spattered with torrents of claret, stark shankings and devastating gunshot wounds – there’s also a spot of stomping. The film’s violence is ugly and nasty, it adds a brutal energy to the film. However, I had reservations with the lead character and particularly with its thin plot and meagre ending; I left the cinema feeling hollow and thinking it was all rather vapid.

Despite all of this, the film had definitely got under my skin, I was thinking about it regularly. Eventually, I had to give it a second viewing.

Being at home without the aforementioned stresses and knowing the framework of the film, I was able to enjoy it a whole lot more. I was engrossed from the start, relishing the style and edginess of it all. My past reservations took a back seat; it had gone up in my estimations two-fold. It was on my second viewing that I was able to appreciate the innate coolness of its leading actor. How on earth did he possibly make a white padded jacket with a yellow scorpion on the back cool? Oh and the driving gloves, they just reek of cool, and that black roaring Ford Mustang – I am so impressionable. It really got my heart pumping; I couldn’t believe how the film had grown on me.

Ultimately, though, like so many films, especially those that fall into the revenge/retribution format (think Death Wish/Taxi Driver), they’re good until the last stanza, they’re hard to wrap up. However, I even preferred the ending on second viewing – out of the ways they could’ve ended it, this was probably the most appropriate choice. While it is indeed a trifle shallow, if you watch ‘Drive’ on a massive television with an equally massive sound system, it is guaranteed to be a visual and aural treat.

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