the 12 angry man essay

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12 Angry Men: Sample essays (justice/jurors)

Sample Plan/Essay

Topic: “ This is one of the reasons we are strong.” Through his play, Twelve Angry Men , Reginald Rose suggest that the judicial system has more strengths than it does flaws.

In an era when America was attempting to find her identity and heal divisions wrought by Cold War hostilities, Reginald Rose, in his didactic play Twelve Angry Men, affirms the dire importance of a diverse jury’s ability to deliver justice to its people. Whilst Rose suggests that the judicial system has its imperfections, he also endorses the benefits he claims are invaluable to society. Initially, as the jurors respond to the task of judging the guilt or innocence of the 16 year old boy, charged with first degree murder of his father, shortcomings are flagrantly obvious. However, owing to the integrity and perspicacity of the 8 th juror and his insistence the principles of justice and reasonable doubt, he orchestrates a careful examination of the circumstantial evidence. As Rose clearly shows, honouring these safeguards not only empowers individuals to engage in the judicial process, but acts as the basis for a just verdict which reflects a decent, caring democratic society; diversity may hinder, but in this case it can facilitate also justice. Thus, the fundamental mechanisms of the process are what makes the system “strong”.

The flaws in the judicial system owing to the 12 “angry men”

Rose depicts a judicial system that is essentially flawed because of its dependence upon twelve “angry” Caucasian men who possess different views, personalities and personal agendas.  Specifically, and through the use of a real-time deliberation process, the playwright emphasizes how the integrity of the judicial system is undermined when the jurors arrive at the table clothed in their own personal experiences and prejudices. (quote from the 10 th )

Rose deliberately constructs a parallel story for the 3rd Juror, whose broken relationship with his son, influences his decision. In the stage directions he notes how he is reeling from the pain of being “stabbed in the chest” which foreshadows his revenge agenda and his rigid, patriarchal view of parenting.  Throughout the play, there are repetitive references to the “knife”, which will be critical to the evidence, but in this case the stab wounds symbolically refer to the 3 rd juror’s raw and personal emotions.   Knife…

Climate of prejudice; a fault that Rose implies was a pressing issue in trials conducted during the post-war era of McCarthy-style hysteria.

Another shortcoming is the legal competence of the jurors, many of whom lack the aptitude to carry out their duties because they have a distorted or deficient understanding of their legal duties. The meek 2nd Juror’s fragmented speech conveyed through Rose’s use of ellipses and indicated in the stage directions as “nervous”, suggests he fears voicing his opinion because of his relative inexperience as a juror. As a result, he “just thinks the boy is guilty” and cannot express his reasoning, intimidated by the louder voices that dominate the early stages of the play. From the beginning, the 12th Juror, who believes that “the whole thing is unimportant”, is fixated on the “view”, the “impression” and the “drive” of the lawyers, a manifestation of his embodiment as post war materialism .  The game of the tic-tac toe also becomes a figurative manifestation of their indifference as is the “doodling”. Likewise, the mindless whistling of the 7 th juror and the change of his vote to “not guilty” because he has “had enough” highlights his obvious apathy. Rose suggests this attitude, which is compounded by the heat, is counterproductive to the notion of active citizenship.

The strengths of the system because of the emphasis on the safeguards of justice

In order to overcome these innate limitations, Rose suggests that the emphasis on and adherence to the safeguards are essential assets to the deliberation process. The power of the process lies within its ability to expose their “personal prejudice” in a “locked room ”, where the men cannot escape scrutiny. The locked room also becomes a metaphoric representation of the men’s closed minds that are gradually enlightened as the trial proceeds. Furthermore, Rose uses the “harsh white light” as a device to reveal the men’s limitations, confirming that the process contributes to greater self-awareness.

8 th juror: embodiment and “architect” of justice

In this regard, the role of the 8 th juror, who believes the boy deserves the courtesy of “talking” about the evidence before arriving at hasty assumptions, is critical to the exposure of injustices and prejudices . He is the juror who most faithfully follows the  disembodied voice of the judge and his reminder that the jurors must deliberate “honestly and thoughtfully”and sift “fact” from “fancy”.   By focusing on the concept of reasonable doubt, he exposes the inconsistencies in the testimonies of the eye-witnesses and urges the jurors to question the “circumstantial evidence”. His probing casts doubt and his question to the jurors, “What if the facts are wrong”, also serves to whet the audience’s curiosity.

The 9th Juror, whose experience derived from his age and experience is vital, asserts that no one has a “monopoly on the truth” as “coincidences are possible.” As such, the jurors are forced to question the reliability of the evidence such as the psychiatrist’s report which indicates that the defendant had “strong homicidal tendencies,” only to conclude that these tendencies don’t always manifest as action; likewise the threat “I’m going to kill you” which becomes a humiliating experience for the third juror.  The fact that the old man could not have physically walked to the door to verify the identity of escaping person and the absence of the woman’s glasses all conspire to plant doubt.

8 th juror: empowers diversity rather than conformity

In the right context and circumstances, Rose also suggests that diversity, a hallmark of democracy, can hinder, but can also facilitate justice. The gradual self-awareness and enlightenment of many of the jurors helps the collective team more effectively scrutinise the evidence. In many ways, such diversity of provides a plethora of contexts for identification which in turn helps the jurors gain an insight into the flaws of the evidence. The 5 th Juror’s “slum background” and upbringing empower him to challenge the angle of the knife wound and the 9 th Juror’s age creates doubt in the reliability of the old man’s testimony. He empathetically observes [2]   that the man’s need to be “quoted just once” provides motivation to lie. The painter’s experience of apartments near an el-train also reveal the difficulty a witness would have hearing the boy. The 4 th juror recognises the woman’s impossibility of seeing clearly without glasses – another metaphoric representation of how the “facts” become increasingly blurred and murky.

Furthermore, minority groups are enfranchised as evident through the middle-European 11 th Juror, who reminds audiences that people “entitled to their unpopular opinions.” The notion that “there are no secrets in a jury room” holds its ground to both ensure that all voices are heard but also that extreme views are unveiled. Consequently, the 10 th Juror is silenced and “defeated” as them men “turn their backs” on him acting as a powerful reminder that in seeking consensus in society, we must reject the “darkening” threat posed by venomous views.

8 th juror: symbolism of democratic, social harmony

As the juror’s are freed from the “locked room” and the cathartic rain ceases to fall, the boy and thus the men are liberated by the civilising power of democracy. Indeed, in an act of social harmony, the 8 th Juror’s gesture of helping the 3rd Juror with his coat demonstrates the potential for fractured sides to find consensus in a society attempting to find her identity post war From the liberating ability of the process, Rose celebrates democracy as a powerful and enlightening asset and is accordingly the ultimate strength of the jury system.

Through the 8th juror’s gaze through the window to the New York Skyline, Rose suggests that the delivery of justice and vigilance is important to ensure the protection of democratic values and to secure justice for those most in need of it protection. Therefore, a focus on the safeguards yields benefits beyond the achievement of justice. The process can empower the disempowered and act as a resounding model for a democratic society.  It is the reason we “are strong”.

Therefore, a focus on the safeguards yields benefits beyond the achievement of justice. The process can empower the disempowered and act as a resounding model for a democratic society.  Through the Foreman’s “Slattery” metaphor, Rose suggests that the democratic foundation of the system is not reliant on individuals, but rather endorses the collaboration of diverse voices and experiences they bring to the “scarred table”. Indeed, self aware individuals prove useful in directing the discussion away from extreme and potentially divisive views.

In an era which was plagued by “Cold war” mentalities of relentless suspicion, Rose acknowledges that the jury system is inherently flawed. However, the play serves as a source of inspiration to the strength of the judicial process should the principles of justice be appropriately upheld. Ultimately the concept of reasonable doubt affords the best protection against the miscarriage of justice. Only when the safeguards of democracy are consciously followed, can any reward be in sight. Rose serves us with a timely reminder that we must accept our civic duties and remain self-aware and “watchful” for those who attempt to hinder the system in order witness what “makes us strong”.

‘Twelve Angry Men is less about guilt or innocence than about reasonable doubt.’ Discuss

Set in 1950s New York with a backdrop of post McCarthyism hysteria, Reginald Rose’s Twelve Angry Men explores the deliberations of a jury in a homicide trial. Although the McCarthyist witch-hunts caused a legacy of suspicion, Rose suggests that ‘reasonable doubt’ remains the best safeguard of justice. The audience are thus taken into the customary black box scenario and witness the difficulties faced by the twelve individuals when attempting to follow the judge’s instruction to “deliberate honestly and thoughtfully” as prejudice and experiences cloud their judgements. According to David Mamet’s introduction it is the fact that each individual interprets the standard of ‘reasonable doubt’ differently that is “the genius of the trial.” By staging the heated discussion, Rose exposes the difficulties that surround the legal concept of ‘reasonable doubt and its application. Eventually, if applied rigorously, Rose suggests that it is the best mean of protecting a person’s innocence. If applied insightfully, it can also expose a person’s bigoted attitude and distorted personal agendas.

Rose characterises the 8 th juror as a spokesperson for justice because he foregrounds the concept of reasonable doubt; Rose thereby suggests that this provdes the best safeguard of the legal system. The fact that he cannot “send a boy off to die, without talking about it first.” Forces the other jurors to carefully consider witness testimonies. Rose’s use of anonymous numbers depersonalises the jury members to show that their personalties should not play a factor. Ironically, the 8 th juror seems to be the only one who best abides by this nameless system. Rose thereby suggests that the emphasis must be on the boy and the irrefutable nature of his crime. Moreover, the 8 th juror’s focus on ‘reasonable doubt’ leads to insightful questioning of the eye-witnesses; the old man could not have heard the boy yell over the sound of the elevated train or made it to his front door in time, and “the woman’s eyesight is in question.” As the 8 th juror exposes the inconsistencies and false assumption associated with the evidence, Rose poses the importance of the idea that ‘reasonable doubt’ could save someone’s life.

Rose sets up the 8 th juror as a contrasting voice of dissent in order to expose the extent to which the other jurors are controlled by their preconceived notions of guilt and innocence. Despite his insistence to scrutinise the evidence, other jurors still base their votes on biases, attitudes and personal experiences. The 3 rd juror, who says, “The man’s a dangerous killer” and the 10 th , who remarks “You know what you’re dealing with” may be the most vociferous in their accusations of the boy’s guilt and it is this emphasis on guilt that threatens a fair trial. The locked room appears as a metaphoric representation of their “locked minds” and their prejudice, which may lead to a miscarriage of justice. Hence, owing to preconceived biases, jurors are too quick to arrive at hasty conclusions and are less willing to accept the apparent doubt in the circumstantial evidence.

With an emphasis on reasonable doubt, the trial changes direction and the flaws in the evidence become increasingly apparent, making it difficult for many jurors to insist on the boy’s guilt. At the exposition of the play, almost all the jurors are convinced of the defendant’s guilt. The 10 th juror flippantly states, “A kid kills his father. Bing! Just like that,” evincing that there is no element of doubt in his mind. Similarly, the 6 th juror comments, “There’s not a doubt in the world.” However as the play progresses, doubt slowly creeps into the minds of the jurors as evidence is cross-examined. The tension is diffused as ‘the sound of the rain’ is heard in the silence. The storm and the ‘flickering of harsh white light’ could be interpreted as symbols of reality and truth. Afterwards, the 4 th juror, one of the most logical and methodical jurors, (“Let’s stick to the facts.”) eventually votes ‘not guilty’ stating he now has a ‘reasonable doubt’. Likewise, the 11 th juror switches his vote as he “now has a reasonable doubt in his mind.” The jurors are aware of the importance of investigating the evidence and henceforth acknowledge that their prior certainties may have faults.

The 8 th juror, through a stage direction that mimics his state of mind and are shown that “this is the problem that has been tormenting him. He does not know and he never will.”

** Based on ‘reasonable doubt’, a verdict of ‘not guilty’ is reached, which Rose suggests is the only correct verdict under these circumstances. AS the evidence is not conclusive, the jurors are not able to confidently prove the boy’s guilt. Critical to the “not guilty” verdict is the capitulation of the 10 th and 3 rd jurors owing to their vociferous opposition. The 10 th juror concedes that he has been outmanoeuvred by the “smart bastards” precisely because he must recognise that his bigoted misconceptions cannot prove the boy’s guilt. Likewise, the 3 rd is forced to recognise the degree to which his personal vendetta interfered with the decision-making process. The reminder that “he’s not your boy”, finally shames him  into concurring with the ‘not guilty’ verdict. The deconstruction of these obstacles finally paves the way for an honest and just outcome. The unlocking of the door and the knife in the table – which was critical to the fact-finding process – suggest that prejudice has been dispelled. Thus Rose would suggest they reach a fair and reasonable verdict.

It is unequivocal that the legal drama Twelve Angry men imparts the notion that ‘reasonable doubt’ is a portentous part of America’s judicial system and it is of greater concern than the truth. Rose demonstrates this though the jury, a microcosm representation of a cross-section of America, who works together to form a just, unanimous decision. The variety of symbolic techniques show how Rose supports the ‘not guilty’ verdict and his view that ‘reasonable doubt’, if applied rigorously and insightfully, can expose personals aspects and agendas that may conspire to affect a fair trial. Ultimately, Rose reveals he is less concerned about the guilt or innocence of the accused but that a vote of ‘reasonable doubt’ is better than wrongly putting an innocent man to death and acts as a safeguard in the justice system.

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12 Angry Men

Table of contents.

• Sample Essay 1
• Sample Essay 2
• Sample Essay 3
• Sample Essay 4
• Sample Essay 5
• Sample Essay 6
• Sample Essay 7
• Sample Essay 8

Sample Essay 1: DOUBT VS CERTAINTY

It is human nature to act on emotionality rather than rationality. The dramatic play, Twelve Angry Men , by Reginald Rose, depicts a seemingly open and shut case based on initially compelling evidence against a boy accused of murder. However, it becomes increasingly clear that individuals are fallible to preconceived, biased beliefs derived from past experiences, social power and rampant prejudices. Therefore, Rose cements the principle that the criminal justice system is founded upon the uncovering doubt, rather than determining guilt. That is, the seeds of doubt is representative of self-reflection on one’s initial judgements, which are subjective and inaccurate. Nevertheless, the playwright imbues an unwavering certainty in the play; individuals who are logical and faithful to legal procedures, in the face of oppression and higher power, can be certain in standing their ground in the jury room.

Rose condemns certainty in judgements which are not founded upon facts but, rather, personal afflictions and generalised prejudice. In fact, the characters in the play demonstrate how judgements based on emotional influence irrelevant to the case at hand prove to be the most certain, despite being misinformed and wholly biased. Juror Three epitomises certainty in projecting his personal experiences on the boy, asserting that he “could see” that the boy was guilty and affirming that he had “never seen a guiltier man in his life”. Rose demonstrates the irony in his confident judgement; rather than “see[ing]”, Juror Three was entirely blindsided in viewing the case through his own lens. Thus, Juror Three fails to objectively judge the case due to his conflicted relationship with his son and wrongfully projects this bias onto the accused boy through the repetition of “it was his father”. In addition, Rose demonstrates how societal bigotry is based on unreasonable attachment and certainty to a belief, which is detrimental to the justice system. Based on the boy’s “type”, Juror Ten makes overarching generalisations on the poorer faction of society through the usage of “these people” or “them”. Through numerous assumptions attributed to the boy through unfounded opinions that “you’ve got to expect that” and how “those people lie”, the playwright epitomises Juror Ten’s intolerance and shortsightedness through the claustrophobic space of the jury room. The juxtaposition of inwardness to the outward city engenders the failure of introspection, resulting in the certainty of prejudiced judgements.

Nevertheless, Rose offers the balanced view that doubting the initial certainty of a case from a logical approach transgresses the emotionality of prejudice. In many aspects, Juror Four represents desirable traits in the justice system. Despite being initially characterised as “a man of wealth and position”, Rose demonstrates how Juror Four’s clear focus to “discuss the facts” mitigates individual biases and emotional attachment to the case, allowing him to resolutely acknowledge that he “now [has] reasonable doubt”. Through Juror Four, Rose represents the higher class, corporate society of 1950s America, embodying many values of active participation and impartial thinking in the legal system. In the same vein, Juror Eleven functions as a voice of reason from a less socially powerful background as a refugee from Europe. In spite of this, Juror Eleven has resolute faith in individuals’ civic responsibilities, advocating that serving in the jury is what is “remarkable about democracy”, making America “strong”. Echoing Juror Four, Juror Eleven demonstrates the admirable ability to segregate emotionality towards the case from the facts, reminding the jurors that “they had nothing to gain or lose by the verdict” and, thus, “should no make it a personal thing.” Therefore, through Juror Four and Juror Eleven, Rose draws parallels between two characters from vastly different backgrounds, which is the unfaltering and certain adherence to rationality and the jury role. Contradictorily, critical thinking manifests doubt and self-reflection, allowing members of the jury to acknowledge that there is “reasonable doubt” in the case.

As the plot unfolds, it becomes evident that absolute certainty and doubt coexist in the courtroom. Rose validates the confident judgements of individuals who are fully conscious of their power and obligations as a juror. Juror Eight displays his certainty as the only one who votes “not guilty”, garnering the support of the audience to implicate the ideals championed by the character. Indeed, as the other jurors deliberate and hold the boy accountable for his silence, Juror Eight reminds the panel that “nobody has to prove otherwise. The burden of proof is on the prosecution”, which is a principle entrenched in “the Constitution”. This argument is purposely organised in a logical portrayal, referring back to the entrenched responsibilities of their duty in the justice system. This is in direct contrast to Juror Two, who inadequately and ineloquently rebuts Juror Eight with the stage direct that “he looks around helplessly”, solidifying the audience’s belief that the second juror no longer holds certainty in his judgement and refutes out of stubbornness. Through this juxtaposition, Rose posits that Juror Eight’s certainty in his rightful and rational argument underpins morality and legal fairness. The use of stage direction further endorses Juror Eight’s outward thinking through the recurring motif that he “looked out the window”. Distinguishing himself from the other jurors, Juror Eight erodes the certainty arising from personal bias and instils confidence on critical examination. Thus, Rose embodies the ideal of active citizenship and civic fulfilment in 1950s America, supporting an unparalleled determination in basing judgements according to interactive discussion and self-scrutiny.

Twelve Angry Men is a play which argues the necessity doubt which arises from one’s certainty in their morality and sense of responsibility. In the courtroom, where the border between guilt and innocence is clouded by emotional and personal partiality, Rose champions how justice can be ethically achieved through a focused observation of facts. The characters symbolise certain societal archetypes in American society and reveal inherent human faults under the criminal justice system. However, in the face of discriminatory attitudes and values in post-war America, Rose elevates the conscientiousness of one’s legal power above all.

Sample Essay 2: JUSTICE

The criminal justice system encapsulates many principles in order to achieve justice for the parties involved. Twelve Angry Men, by Reginald Rose, is a dramatic play which explores the intricate construct of a just and fair trial. In the context of 1950s America, Rose enquires the ideal of fairness in a society divided by ethnic and social backgrounds. As a narrative develops, it is evident that the unequal power relations of social division interferes with the objectivity of the jury verdict due to personally biased and irrational beliefs. Furthermore, Rose demonstrates how the importance of justice itself is directly dependent to one’s past experiences, resulting in differing perceptions in what constitutes a righteous outcome. Ultimately, the play is a complex insight into the contradictions of justice, arguing that a strict abidance to proving a case beyond “reasonable doubt” is the standard that should be normalised.

As a commentary on post-war America, Rose depicts bigotry as a form of injustice imposed on less fortunate groups in society. 1950s America witnessed the widening of class divisions, resulting in widespread ignorance from individuals in privileged positions. This attitude is embodied by Juror Ten, who applies his personal, discriminative views on the boy, referring to him as a part of the “slums”, who are “common ignorant slob[s]”. This is echoed by Juror Four, who asserts that “The slums are a breeding ground for criminals”. Hence, Juror Four wholly attributes his guilty verdict to the boy’s social status, making a sweeping, blanket statement that lack of financial power is directly correlated to crime. These generalised statements, which are made before examining the facts of the case, are a condemnation of the systematic misinformation perpetuated by ignorant members of society. Rose warns of the consequence of predetermined values, which thereby disregards and disrespects justice. The blatant bias of some jurors is contrasted with the characterisation of Juror Eleven, who speaks out against the lower-class prejudice, understanding that “facts may be coloured by the personalities who present them”. Hence, Juror Eleven reminds the audience that subjective beliefs are often forwarded as truth, despite their highly partial nature. Therefore, through the juxtaposition of various jurors, Rose identifies the root of prejudice; often, stigmatised opinions are automatically assumed to be the truth due to ignorance, resulting in an unequal, unjust society.

Furthermore, Rose reflects on the shortcomings of the criminal justice system, demonstrating that the notion of justice is subjective. Juror Three showcases how an individual’s understanding of justice is dependent on their past experience, allowing them to project their personal conflicts onto others. It is evident in the play that Juror Three’s longstanding resentment stems from the behaviours his son, cursing him as a “rotten kid” who had once “hit [him] in the face”. Juror Three justifies his hatred, stating that he “work[ed] [his] heart out”, implying that he had once been understanding and sympathetic towards his son. Nevertheless, due to the treatment Juror Three had previously endured, his sense of justice is resolved by physical violence and intimidation, stating to that it would be deservedly fair to “belt him one”. On the other hand, Rose depicts Juror Five on the opposite spectrum, relating back to his similar past experiences to the accused, conveying that “I’ve lived in a slum all my life”. Through the lenses of his past, Juror Five reveals that he would rather suppress traumatic memories in “try[ing] to [forget] those things”. This serves as an fascinating parallel to the boy, who also fails to recall events of his father’s death. Hence, Rose utilises the past of experience of Juror Three to demonstrate how individuals perceive achieving justice as a resolution of their personal resentments. Despite this, Juror Five’s experiences allows him and the audience to understand an empathetic definition of justice.

Rose further explores a more nuanced construction of justice, which is judicially intended to be purely focused on facts and separate from external influences. However, Juror Four is one of the last jurors to vote “not guilty”, yet, is the epitome of detached, logical thinking. That is, Juror Four relies on authoritative opinion and relevant evidence, clearly detailing “why”, as the “most damning evidence was given by the woman… who claimed she actually saw the murder”. Here, Juror Four draws from a witness’s testimony to rightfully assert his verdict, unlike the prejudiced attitudes of some jurors present. By providing the context, Rose renders Juror Four’s judgement as entirely plausible. In addition, Juror Four is characterised as rational and level-headed, despite the rising tensions of the deliberations, stating that “we ought to be able to behave like gentlemen”. As the emotionality of the discussion is represented by pathetic fallacy in the heat of the jury room, Juror Four’s calm mannerisms is further portrayed as admirable. Though, notably, Juror Four initially does not believe that the case possesses adequate doubt.  Nevertheless, Rose contends that the idea of “reasonable doubt” is, to an extent, founded upon a level of human empathy. This is conveyed through Juror Nine, who raises the important point that witness testimony is not always reliable, as someone like the old man “like this needs to be recognised”, positing self-interest as a possible motivation for the witness to “lie”. Rose demonstrates that human nature and the ability to view the case empathetically is a necessary skill to recognise “reasonable doubt” in addition to rationality. Thus, only through this can justice be realised.

Twelve Angry Men is a reflection of both societal discourses and human nature. Rose illustrates that the idea of justice stems from individual beliefs and changing values of society. With the rise of social hierarchies and wealth disparities of post-war America, Rose argues that such inequalities are damaging for the criminal justice system. Furthermore, Rose highlights the essentiality for one to remove themselves from unresolved, personal conflicts, as this shapes their understanding of justice. Despite this, Rose demonstrates the delicate balance between detached, factual approaches and compassionate empathy required to scrutinise the existence of “reasonable doubt”.

Sample Essay 3: Twelve Angry Men power

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Twelve Angry Men

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Welcome to the LitCharts study guide on Reginald Rose's Twelve Angry Men . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Twelve Angry Men: Introduction

Twelve angry men: plot summary, twelve angry men: detailed summary & analysis, twelve angry men: themes, twelve angry men: quotes, twelve angry men: characters, twelve angry men: symbols, twelve angry men: theme wheel, brief biography of reginald rose.

Historical Context of Twelve Angry Men

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• Full Title: Twelve Angry Men
• When Written: 1954 (teleplay); 1955 (theatrical play)
• Where Written: New York City
• When Published: 1955
• Literary Period: Late Modernism
• Genre: Drama
• Setting: A jury room, the present
• Climax: Juror Eight persuades all the other jurors except Three to vote “not guilty.” Three confronts Eight with a knife in a silent power play. The climax is resolved as Three surrenders and votes “not guilty.”
• Antagonist: Prejudice and bias exhibited primarily in the characters Three and Ten

Extra Credit for Twelve Angry Men

Twelve Angry Jurors. Contemporary productions of Reginald Rose’s play often change the title to “Twelve Angry Jurors” to allow for gender-neutral casting. The original play does not address prejudices and biases related to sexism, but the play intentionally strives for timelessness by instructing that the jurors be dressed and cast to belong in “the present.”

Adaptations for the big screen. The teleplay was revised by Rose for a 1957 movie that received three Academy Award nominations. A 1997 movie version was also released, demonstrating the story’s timelessness.

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Twelve Angry Men

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Discussion Questions

Twelve Angry Men is set in the summer of 1957 and heavily implies that the accused is a part of the African American community in Harlem. Consider the role of segregation and racial attitudes more broadly in the United States during this time. How does this historical context shape the trial and various jurors’ attitudes toward it?

Tension between fathers and sons is one of the key themes in the play. How does the 3rd Juror’s relationship with his estranged son reflect the relationship between the accused and his own father? What do these two relationships tell us about problematic family dynamics within the play, and how do they relate to the play’s wider themes?

The 5th Juror appears to be the only juror with direct, lived experience of the Harlem community and the poverty within it. What role does the 5th Juror play throughout the jury’s deliberations, and what insight does he give readers into the social world of the accused?

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The Film “Twelve Angry Men” Essay (Movie Review)

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Introduction

Overview of the plot, analysis of the principal aspects of the movie, challenges to communication, possible implications of technical progress on the judicial system, works cited.

The film 12 Angry Men is without a doubt one of the most critically acclaimed movies of the 20th century and a classic example of American cinematography. The primary topic of the film—the influence of racial prejudice on decision-making in the courtroom—remains highly relevant even though more than fifty years have passed since its release. It should also be noted that numerous critics have provided their perceptions of 12 Angry Man , and thus, it is possible to state that much has been said or written about the subject. This review aims to discuss the principal artistic aspects of the movie that have a considerable impact on any profound interpretation of the film.

This brief description of the plot of the movie is intended to provide the proper context for discussion. To begin the discussion, it is important to set the scene for the film: 12 Angry Men is a chamber drama that is explored to the maximum of its potential. Excluding the briefly depicted setup and epilogue, the entire movie takes place in one room. Twelve jurors are arguing over imposing the death sentence on a boy accused of murdering his father (Guo et al. 318). At first, the decision seems plain and obvious to everyone: the boy is guilty.

However, one man among the jurors doubts the simplicity of this decision: Juror #8, played by Henry Fonda. At the beginning of the film, he is the only one who votes in favor of the accused boy’s innocence. A dispute begins over this decision, and as the discussion continues, the situation creates a high level of tension. Finally, after coming through discussions, debates, accusations, uncertainty, and stress, the jurors unanimously vote in support of the boy’s innocence. However, the movie leaves its audience with an open-ended feeling since it is not made explicit whether the boy has done the crime. With this context set, the following sections will dwell upon more particular themes and motives presented in the film.

One of the principal aspects, significantly contributing to a better understanding of 12 Angry Men , is the fact that the source for the script was a television play written by Reginald Rose (Raw 2). Thus, considering this context, it is not surprising that the film has such a claustrophobic narrative—the characters were initially intended to act within the constraints of the limited space of the stage.

However, it is also evident that the director of 12 Angry Men , Sidney Lumet (it is also worth mentioning that this film marked his debut in cinematography), puts the characters of his movie into one little room, using the restricted space to create an extremely high level of tension ( 12 Angry Men ). The jurors are trapped in a small and stifling room on a hot and sultry day, and they have nothing to do but to communicate, being forced to work through their irritation, anger, prejudice (not only toward the defendant, but also toward each other), and personal interests ( 12 Angry Men ). Thus, the second cornerstone of the movie’s immense pathos and artistic power is masterly written and acted dialogue.

The dialogues are the strongest aspect of the film. The movie 12 Angry Men lacks spectacular action since the jurors only sit and incidentally walk around the small room; no breathtaking, lush visual effects are present in the movie. The characters exchange phrases, observations, and rants, yet they create an exciting movie experience. It is worth mentioning that the length of the film is only 95 minutes, a relatively short amount of time for a courtroom drama. However, the cast is capable of revealing a diverse set of characters’ personalities, their beliefs and prejudices, and emotional and ethical standards as well.

Another important aspect is plot development. It is possible to observe that the story is not preoccupied with the investigation of the crime. The audience, as well as the jurors themselves, has relatively limited information about the case: It is known that the evidence is second-hand, the boy is barely depicted in the movie, and the overall information about the case is considerably brief and fragmented. This limitation is imposed intentionally to let the audience focus on the primary idea proposed by the creators of the movie: The jurors have the weighty responsibility of deciding to send a young man to die, and this decision does not come easily.

Considering the visual techniques used, it is necessary to mention that the camera perspective changes throughout the development of the story. During the first half of the movie, the camera shoots from a point above the level of the human eye. Toward the end of the film, the camera’s perspective lowers, and finally, it is placed below the eye line. This pattern follows the development of the narration since the audience is presented with a detached perception of the movie’s characters at first, and as the plot unwinds, the viewer’s perspective is drawn into a more sympathetic image of the jurors.

Further, it is essential to dwelling more profoundly upon the interpersonal, intrapersonal, and societal challenges to communication, which are presented in the movie. First of all, the historical context should be considered. 12 Angry Men was released in 1957, in the period when the discussion of racism’s adverse impact on American society began to spread. However, the prejudice toward African Americans and Hispanics was still widely accepted by numerous people.

Also, the conditions of the courtroom should be concerned as the physical factor that challenged the characters’ communication. Lumet puts the jurors in a very small, stiff, and heated room, which has an almost claustrophobic effect on some of them. These two factors – racial prejudice and limited space – serve as catalysts for the development of social drama. Each of the jurors brings his own cultural and ethical “baggage,” and under the pressure of the situation, the men’s worldviews begin to collide.

The Juror #3 considers the case to be very simple to solve, and the rest of the party lightly agrees, except the juror #8. The Juror #10, who possesses the deepest racial bias, rants about the deceiving nature of “these people,” while the Juror #4 tries to appeal to pure logic in his reasoning ( 12 Angry Men ). Also, it is essential to mention that, apart from the racial prejudice toward the defendant, the racist observations are also aimed at juror #11. Overall, it should be observed that the characters of the movie are portrayed not as purely evil or good. Instead, the emphasis is made on the complex nature of interpersonal communication in the context of personal issues and beliefs.

Additionally, it would be interesting to overview the problem under discussion from the perspective of technological progress. The development of various communication tools (most importantly, online services, such as chat rooms, discussion forums, and video conferences) can have considerable implications for the process of judicial decision-making. Thus, the question could be imposed: does the advancement of the technologies improve the quality of the juror’s work?

It could be hardly doubted that mobile technologies have an immense influence on nearly every aspect of modern life, and the jury is not an exception. Overall, the advancement of communication tools brings the same advantages in the courtroom as everywhere else: it is a significantly faster and more convenient way to receive and transmit the information. However, as McDonald et al. state, the profound inclusion of mobile technologies in the judicial process must be supported by the research of possible adverse implications (179).

It could be observed that, excluding some minor aspects, the jury’s decision-making process with the assistance of digital devices does not differ dramatically from the conventional manner (McDonald et al. 189). It should be mentioned that the authors have primarily studied the situation, in which the jurors are present in the jury room, and it is suggested that in some circumstances, having an individual digital device could be the disjunctive factor (McDonald et al. 182). In the situations where the juror participates in the discussion through the video conference, it is more likely that the judicial process would be more adversely affected. It is argued that the quality of decision-making in the jury room considerably depends on face-to-face communication.

In conclusion, it is possible to restate the immense significance of 12 Angry Men , which has not diminished over time. The subject of racial prejudice and its influence on the judicial system appears highly relevant in contemporary society. In general, it should be noted that the film’s profound artistic impact is achieved through the masterly depiction of ethical problems that a wide range of audiences can find relatable.

Guo, Fangjian, et al. “The Bayesian Echo Chamber: Modeling Social Influence via Linguistic Accommodation.” Proceedings of the 18th International Conference on Artificial Intelligence and Statistics (AISTATS) , San Diego, CA, 2015, pp. 315-323.

McDonald, Laura W., et al. “Digital Evidence in the Jury Room: The Impact of Mobile Technology on the Jury.” Current Issues in Criminal Justice, vol. 27, no. 2, 2015, pp. 179-194.

Raw, Laurence. “Twelve Angry Men on Television and Film.” Open Library of Humanities, vol. 3, no. 1, 2017, pp. 1-17.

12 Angry Men. Directed by Sidney Lumet, performance by Henry Fonda, Orion-Nova Productions, 1957.

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12 Angry Men

By reginald rose, 12 angry men essay questions.

How does Rose maintain doubt as to the defendant's guilt or innocence throughout the play?

Rose accomplishes this factual ambiguity by never actually allowing any of the jurors to definitively prove his innocence. Instead, they are only really able to prove that he is not definitely guilty, or "not guilty beyond a reasonable doubt." There are many reasonable arguments as to why he may very well have been guilty, but they ultimately don't prove strong enough to convict.

Explain how the idea of 'reasonable doubt' particularly pertains to this case.

In the American criminal system, those charged with crimes need to be proven guilty 'beyond a reasonable doubt.' It is up to a jury to decide what that means and how to apply it in the case. Here, 8th Juror was able to put enough doubt into their minds, by challenging the evidence, to prove to them that they could not be sure enough to convict the defendant.

Give examples of how the personal insight of the jurors affected their understanding of the case?

9th Juror is able to offer up to the other jurors a particular reading of the old man who testified, as he felt like he "knew" him, perhaps based on a shared life experience. This affected the way he understood his testimony. More concretely, 5th Juror grew up around knife fights, where switchblades were commonly used, which allowed him to offer insight into how a wound would or would not be made.

What examples of prejudice can be found in the play?

10th Juror is the most obvious example, immediately against the defendant just because he was "one of them." Similarly, 3rd Juror is prejudiced against the defendant because he reminds him of his own son, from whom he is estranged. On the other extreme, 8th Juror is prejudiced to give the defendant special consideration because he had a hard upbringing and comes from a poor background.

What role does the Foreman play in controlling the other jurors?

On a practical level, the Foreman is charged with moderating their discussion and taking regular polls as to the judgment of the jurors. In this instance, he has the much grander job of controlling the many larger and temperamental personalities in the room. He is criticized at points for how he controls the room, but ultimately is able to keep the room from descending into chaos. In some ways, he represents the American self-governance system.

Why might Rose have decided to place the division of Acts I and II where he did?

On a dramatic level, Act I ends with a very exciting moment that would serve to make a powerful end to the first act, right before an intermission. Also, it marks a very important moment in the play where the balance of power shifts. 3rd Juror loses control, leaping at 8th Juror, proving one of 8th Juror's point and making himself look unstable and unreliable. Act II is also marked by a different tone, outwardly manifested by the changing weather.

How do the conditions of the jury room mimic the attitudes of the jurors?

One of the first thing the jurors comment on is the temperature in the room, which is oppressively hot. It seems that Rose uses this as a device to emphasize the heated discussions going on inside the room. Also, we might think that these men are driven to madness quickly by the heat. In the second act, it begins raining outside, and they are able to turn on the fan, marking a return to reason for many of the jurors.

How is 8th Juror represented as the hero of the play?

While we are unsure whether he is right or wrong, 8th Juror is one of the only jurors who is unaffected by any kind of negative prejudices. He respects the system and the value of life, causing him to want to consider the case more carefully than others. He is motivated simply by the idea of surviving justice and no other personal gain or affirmation comes into play.

Compare and contrast the rational and irrational arguments for guilt from the jurors.

4th Juror is able to move through the evidence logically and thoroughly, determining that the defendant is most certainly guilty. Similarly, 6th Juror is moved away from the idea that they can't have any doubt and convict him, based on the very real fear of putting a killer back on the streets. Conversely, we have 10th Juror, who irrationally presumes guilt upon the defendant because of his ethnicity and background. The difference is that the former arguments are founded in evidence and logic, while the latter is not.

How does the fact that the jurors are all male impact the play?

Rose definitely plays off of the masculine energy to create these archetypical characters. The title of the play is '12 Angry Men,' and it certainly does have an understanding of how particularly men settle problems in a confrontational, often personal, manner. There is a definite competitiveness, especially between 3rd Juror and 8th Juror, that is somehow intrinsically masculine. The idea of the father/son relationship is so strong because we have the understanding of each one of these men as a potential father, some confirmed.

12 Angry Men Questions and Answers

The Question and Answer section for 12 Angry Men is a great resource to ask questions, find answers, and discuss the novel.

Did the jurors believe that they were doing their job responsibly?

I think some of them did, like Juror #8, but some of them just wanted it to be over and go home. Juror #7 just wants to make it to his ball game.

In the play 12 Angry Men, how do things change when the evidence (knife) is brought into the jury room for examination?

This question sounds similar to your last one:

When a discussion about the murder weapon, which was identified as the knife purchased by the defendant, a “one-of-a-kind” knife, begins, 8th Juror surprises the others by...

The River and the source

What is the title and author of the book you are referring to?

Study Guide for 12 Angry Men

12 Angry Men study guide contains a biography of Reginald Rose, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About 12 Angry Men
• 12 Angry Men Summary
• 12 Angry Men Video
• Character List

Essays for 12 Angry Men

12 Angry Men essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of 12 Angry Men by Reginald Rose.

• Critical Elements of Twelve Angry Men
• Two Angry Social Classes
• The Importance Of Justice In Relations To Past Experiences
• Twelve Angry Men as an Allegory
• An Objective Perspective: Logos, Ethos, and Juror Four

Lesson Plan for 12 Angry Men

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to 12 Angry Men
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• 12 Angry Men Bibliography

Wikipedia Entries for 12 Angry Men

• Introduction

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