long time I wanted to pay homage to a work I saw a kid on television. Thanks to her I theatergoers, a passion that still holds me. I'm talking about Twelve Angry Men, written by playwright Reginald Rose wrote the first adaptation for television in 1954, after the film adaptation in 1957 that Sidney Lumet directed with a masterly hand, and, finally, Rose turned in a play, which premiered in 1964.
The work was issued in a study on 6 October 1965 and was revived on. I do not remember well when I saw her, but it was in 1975. The adapter, director and producer of the English version of Twelve Angry Men was Gustavo Pérez Puig, one of the directors and filmmakers most prestigious in Spain. Puig Pérez continues, sometimes with extreme fidelity, film, as some plans are exactly alike. However, there are significant differential waste due to Lumet's version is, after all, a movie theater and tries to get away from the shot, while Perez is deliberately theatrical Puig be used in a space precisely boasted of his theatrical nature.
Thus, in the film, however briefly, you can see the courtroom, hallways and even the building's entrance, while the English version is strictly limited to the courtroom where jurors and meet the bathroom annex. Lumet tries to convey to the viewer a sense of increasing claustrophobia. To do this, start by using wide angle lenses to create large spaces between the characters, but as the action progresses, the focal length is increased, even at telephoto, which reduces the depth of field and the sense of space and depth. This ensures that the characters seem to be very close to each other. Furthermore, in the final close-ups abound finely chopped, seen from below, rather than from above, as he did at the beginning of the meeting this way, the ceiling looks down upon the characters, who seem to be locked in a box .
For his part, Perez Puig is adapted to television and theatrical language and used more often to the planes of a single actor or two, which are the best results given in the form of small screen, along with the inevitable growing group plans that required action. The result is so disturbing for theater and television as Lumet is the option for the film, although it is less claustrophobic. In the end, Pérez Puig matches in the use of close-ups, thereby enhancing the intensity of the situation. Both the film and in the English adaptation, the action seems continuous and the viewer has the feeling that no one temporary interruption, since Rose was intended to adhere to the three classic unities of action, time and place: the same story set in one place and in an identical time for the characters and the viewer. However, in both cases the implementation contributes to the feeling that the judges spend more two-hour discussion.
There is a curious detail that shows the time distortion. When the film is timed how long the neighbor of the accused might have been slow to reach the door, are said to be 41 seconds, but if the viewer takes the trouble to time this scene, in which no cutting whatsoever, find that takes only 30 seconds. In the English version will not exceed 35 seconds, but are said to have been 40. In the play, therefore the opposite of what happens normally in the movies, where scenes timed, for example when a minute left to explode the terrible bomb, usually last a lot.
Twelve Angry Men together a real team of great English actors. The truth is that rarely can see so much talent together and is therefore not surprising that the work will be remembered as a landmark of television that golden age of English television, comparable to the American.
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