Friday, July 10, 2015

12 Angry Men (1957)

I finally got around to watching one of the Criterion movies from my backlog box that I will be covering in today’s blog. For those unaware of the Criterion Collection, all you need to know is that the people at Criterion are huge fans of cinema and painstakingly restore and remaster critical classics all the way back from the dawn of modern cinema in the 1930s until standout hits as recent as a year or two ago. They then proceed to pack each release with as many must see extra features as possible, and usually include a well-crafted booklet filled with production notes and other facts about the film’s legacy.

Criterion releases films not just from the United States, but from all over the world, making sure each part of the world is well represented with the very best they have to offer as you can tell from their extensive catalog listing here. A lot of their releases usually go for a bit more than your standard DVD/BluRay release, but a couple times a year they run half off sales on their website to get them down to more reasonable rates, which I took advantage of last year to get a few releases, one of which is the topic of today’s blog with 1957’s 12 Angry Men (trailer).

12 Angry Men is a film that has been remade many times over the years, but the original 1957 theatrical release I am covering here today is the first time I have viewed any version of it (there was an awful spoof of it that Family Guy did a couple years ago, but I am going to erase that dreck from my memory). For the longest time I intentionally held off watching any version because I have fond memories of reading the play version of this that the film was based on in 11th grade. About 15 years have passed since then, and I reasoned to myself that a Criterion release was the way to finally watch it.

If you are unfamiliar with 12 Angry Men, the title itself is a big hint at what to expect as the film opens with a murder trial just wrapping up and a judge sending the jurors off to deliberations to determine if the defendant is guilty or not guilty. The judge proclaims if the defendant is found guilty he will get the electric chair death penalty. Juror #8 (Henry Fonda) is the only holdout with a not guilty vote of the 12, and the next hour and a half is an intense round of deliberations as these 12 jurors weigh all the evidence and have the fate of one man’s life in the palm of their hands.

There are so many things I love about this film that makes it hold up remarkably well, even today 58 years after its initial release. There is something to the pacing of the opening minutes of the men walking into the deliberation room that does a great job at establishing the tone of the film. It is a hot summer day, and air conditioning back then is a new appliance that the courthouse was not equipped with and the fan is not working either to top it off. The jurors are already dripping with sweat, and when they realize they are in for a long round of deliberations they despondently take off their suit coats, but as the day gets longer and the deliberations get more intense the jurors themselves certainly show it as all their shirts are beautiful sweaty messes halfway through the film.

Director Sidney Lumet made great use of constant up close, wide shots of all the jurors’ faces so you can see how exacerbated some of them get towards the end of the film when they have beads of perspiration dripping from their foreheads. I will give props again to Criterion for committing who knows how many hours remastering this film, and considering its age, it looks fantastic! In the booklet included with the film they list all the equipment they used to restore and remove as many faults like screen grain and tearing as they could so there could be as pristine a picture and sound as possible. It is from their hard work that make moments like the up close, in your face shots of the jurors really pop off the screen. All the jurors are not named throughout the film (minus two in the closing moment), and while Fonda is obviously the star of the film, the rest of the jurors each get their individual moments and time to shine in the film. In a weird way it is kind of like trying to split up the screen time for all the heroes in The Avengers, and like that film, 12 Angry Men somehow manages to make each juror a pivotal character by the end of the film.

In recent years I have a special place for films that go outside the norm and have a majority of a movie take place in a small setting such as Phone Booth and Buried. I cannot believe I have neglected 12 Angry Men from this list as one of the pioneers of films like this as 95% of the film takes place in the jurors’ deliberation room. Even though it is just one location, there are so many special breakthrough moments that transpire in there. In one memorable moment, a juror goes on a monologue talking about his son and making a man out of him that really struck a chord with me through its delivery. As each juror starts to change sides, the last few holdouts get desperate, and in another striking moment, one juror goes on a prejudice tirade, and the rest of the jurors shun him with the silent treatment in what I feel is the most powerful scene of the film.

A lot of how these scenes were shot, and the reasoning on how 12 Angry Men came to be is explained in the extra features. The original TV movie of 12 Angry Men from 1954, or teleplays as they were called back then, is included in its 50 minute entirety, along with a 15 minute intro talking about how exclusive made-for-TV dramas at the time like this were the reason why TV sets in households got a rapid boom in the 50s. Unlike the feature film, the teleplay is not remastered and presented in its original standard definition. A bonus second teleplay is included with 1956’s Tragedy in Temporary Town. It is 55 minutes and also directed by Sidney Lumet, and like 12 Angry Men, this deals with standing up against prejudice and bullying. I hate to admit it, but I did not watch either teleplay as both of them have several clips spliced into the other extra features that after viewing gave me a good idea of what the teleplays were all about.

From TV to Big Screen is an in-depth 25 minute feature about the history of turning teleplays like 12 Angry Men into film. It proceeds to go on how the film came upon a cast consisting largely of unknown actors aside from Fonda, and how the film was a critical success, but a box office failure. Next up is a 23 minute compilation of interviews with Lumet at various points talking about his career, going into the military and the original TV broadcast of the film. There are mini-features interviewing subjects about Lumet and screenwriter Reginald Rose praising their work and talking about how they overcame adversities like being blacklisted from Hollywood in the 50s. The final noteworthy extra is a 38 minute interview with cinematographer John Bailey discussing this film’s director of photography Boris Kaufman, who has many kind words for Kaufman’s unique and effective style of camera work in 12 Angry Men. Finally, there is the finely crafted booklet I mentioned above filled with a new essay of production notes and facts. It is a well made and an informative read, but if you already watched all the extra features it mostly touches on a lot of the same ground covered there.

Nearly 60 years after its release, and 12 Angry Men is still a gem. I wholeheartedly applaud the message behind this film about standing your ground and rising up against the odds. Criterion made sure to give this classic the five star home video treatment and pack it with not a dull extra, with every extra feature worth going out of your way to watch to get the full story behind the film. If you love dramas, filled with intense, powerful moments, then do not let this 1957 release date intimidate you as 12 Angry Men is still a must see film now as it was nearly 60 years ago.

Other Random Backlog Movie Blogs

12 Angry Men (1957)
21 Jump Street
Angry Video Game Nerd: The Movie
Atari: Game Over
The Avengers: Age of Ultron
Batman: Mask of the Phantasm
Bounty Hunters
Cabin in the Woods
Captain America: The First Avenger
Captain America: The Winter Soldier
Clash of the Titans (1981)
Clint Eastwood 11-pack Special
Dirty Work
Field of Dreams
Fight Club
The Fighter
For Love of the Game
Good Will Hunting
Hercules: Reborn
Man of Steel
Marine 3 & 4
Mortal Kombat
The Replacements
Rocky I-VI
Running Films Part 1
Running Films Part 2
ScoobyDoo Wrestlemania Mystery
The Secret Life of Walter Mitty
Source Code
Star Trek I-XII
Take Me Home Tonight
The Tooth Fairy 1 & 2
Veronica Mars
The Wrestler (2008)

Sunday, July 5, 2015

redvsblue Season 5

It is time to finally wrap up Rooster Teeth’s Blood Gulch Chronicles with today’s blog on redvsblue: season 5 (trailer). When season four wrapped up, the red army found themselves outnumbered and called command for backup. Season four’s closing shot was a drop shuttle making a seemingly prompt response within minutes and landing directly on Donut (Dan Godwin).

Season five picks up with Donut believed to have been perished from the shuttle’s, but do not get worked up because he simply got crushed through the ground into an underground cavern. The seemingly prompt shuttle for the red base is instead a long delayed shuttle for the blue base with a new private to replace the blue member who got promoted to replace the long deceased Captain Flowers (Ed Robertson). Church (Burnie Burns) claims the new blue captain position, which kind of does not make sense since Church is still essentially dead and his ghost has been possessing throwaway background characters since the first season now.

The new blue army private is a lady who goes by Sister (Rebecca Frasier), and surprise, she happens to be Grif’s (Geoff Ramsey) sister. Originally the red army misconstrued Sister’s message coming from red command, and in one of the highlight moments of the season, throws a mock funeral/roast for Sarge (Matt Hullum), where Simmons (Gus Sorola) uses his eulogy as a campaigning effort to be the new captain. Sister won me over right away, and like most of the rest of the blue and reds, is a lovable clueless dweeb, which means she is a perfect addition to the rest of the misfits on Blood Gulch. Sarge lets his peers bury him for added effect for the funeral, but he winds up falling into the same underground labyrinth and meets up with Donut.

Meanwhile on blue base, Tucker (Jason Saldana) is busy being a father to his alien kid, with him and Doc (Matt Hullum) making somewhat of an effort as being the caring parents. When season four ended with Tucker being a parent after getting raped by that alien, I was dreading how the next season would play out, but Rooster Teeth was on top of their game here with some playful parenting moments that have some nice passed down genetics for the kiddo that pay off in some great scenes at the end of the season. All of the red army winds up trying to find each other in the underground cavern, where sure enough, they discover they are not alone and a bigger conspiracy is at play involving aliens, freelancers, and of course that pesky O’Malley AI that loves to go around infecting nearly every cast member this season in one particularly awesome scene. The last half hour to 40 minutes of this two hour season goes really off the rails as it attempts to wrap up The Blood Gulch Chronicles.

Remember how crazy season three got with the time travelling? Well, you are in for a treat this time, but instead of time travelling, we get Tucker stuck in a repeating time loop until he corrects history the way it was meant to play out, kind of luck how Tom Cruise’s character is in Edge of Tomorrow. Tucker’s repeated time loop winds up with many funny “what if” moments resulting in many hilarious inconsequential character death moments that played out in alternate timelines, and you can tell the guys at Rooster Teeth were having a ball with the final act.

I am not going to lie, the action and exposition gets a little hard to follow in the last act with the repeated time loops, and everyone trying to get a piece of the O’Malley infection which was another standout moment of the season. After neglecting the O’Malley AI for about the first two acts of this season, in a way it made the AI more of a bigger deal when O’Malley returned and started another reign of terror and the season came back to stopping the O’Malley AI, who was essentially the antagonist for nearly the entire Blood Gulch Chronicles. I will also give props to Rooster Teeth for making great use of a few minor characters again in small doses like a few other characters were in season four. Lopez (Burnie Burns) and Andy (Nathan Zellner), along with a couple other characters were not featured acts in much of this season, but the few times they did appear made their impact all the more meaningful. Think of Lopez and Andy this season as Lost’s Rose and Bernard, and it is kind of the same effect.

I was satisfied with what I was able to piece together of the ending and how the greater Blood Gulch Chronicles story arc wrapped up. It essentially comes around full circle in an updated way reflecting all the events that have transpired throughout the seasons, and kind of wrapped up everyone’s predicament on where they stood with a nice little bow on it. You can tell by this season, Rooster Teeth is getting much better at producing more intricate shots and pulling off all kinds of crafty production tricks with Halo’s in-game camera. They also amp up the use of photoshop this season, and while some of the photoshopped items look especially hokey and obviously pasted in, that just makes them fit in perfectly in the world of redvsblue.

There are a few more extra features than usual on the season five disc. There is a five part mini-series titled Out of Mind that is a quick watch at 13 minutes. I highly recommend watching it before starting season five as it takes place in between seasons four and five and explains what Tex (Kathleen Zuelch) was up to and why she did not have a prominent role for most of season five. There are several alternate endings, and all of them are well worth going out of your way to watch them all. After listening to the commentary I came to find out Rooster Teeth released all the endings at once and it was not until the DVD release that they decided which one to attach at the end of the season as the ‘true’ ending. After watching them all, I can appreciate and respect the ending they chose as the rightful ending of this series.

There are several quick bonus videos of outtakes and minor behind-the-scenes videos explaining how they were able to pull off some of the shots they were able to. While some of their aforementioned photoshop skills are self aware at how charmingly bush league they are, there are other effects that they explain in these videos where they go above and beyond to create some new scenery that passes for coming right out of in-game footage. Last season Rooster Teeth started to transition out of their holiday themed PSAs to more random bonus videos focusing on the latest pop culture trends, and they continue that trend in season five with bonus videos riffing on keeping up with the latest tech gizmos, PC-friendly holiday greetings and most importantly having a post apocalypse zombie plan.

The commentary this year is far better and more on point in season five compared to the previous season’s where the cast seemed like they wanted to be anywhere but the recording studio. Commentary highlights are discussing which alternate endings to use as the true ending, wrapping up the Blood Gulch Chronicles, returning to shorter length episodes and a lot of shot production talk. They do reference playing the Halo 3 beta during this commentary and I believe they also allude that season five was the first season shot in HD for BluRay. So perhaps season six is the first season that uses Halo 3’s engine for production. My memory is a little foggy as I think season five here was where I originally stopped watching because almost all of this season seemed new to me this time around. Tune in next month to find out!

Season six starts a brand new story arc, so please stop by again next month to keep up with my latest season recaps. Once again, you can stay on pace with all the redvsblue episodes by watching them like I have been doing through the 10-Year anniversary box set or for free off Rooster Teeth’s YouTube channel or the redvsblue website.
Past redvsblue Blogs

Season 1
Season 2
Season 3
Season 4