Russian director Nikita Mikhalkov's film 12, a remake of the 1957 American film 12 Angry Men by Sidney Lumet. In fact, it would be interesting to compare the two films. In both films, a marginalized teenager is accused of killing his father, and a jury of 12 ordinary citizens from different walks of life discusses and makes a verdict. At first, most people thought it was a simple and intuitive case, and they just wanted to rush to the end and go home early, but one person objected, prompting the jurors to re-examine the case and finally reach a verdict of not guilty.
The most commendable thing about the American version is that the use of cameras and reasoning in a cramped space creates a sense of tension full of pressure. As the reasoning of the case progresses, the plot advances to a climax. The entire film is 96 minutes long, with a tight rhythm and full of tension. Although there is only one scene in total (the short pictures at the beginning and end of the film can be ignored), it is by no means dull. The reversal victory from 1:11 to 12:0 allows people to examine the real jurisprudence and justice under the surface of judicial procedures, how each citizen respects the rights conferred by the law in his hands, and maintains the essence and original intention of the law - regardless of class fairness and justice with prejudice.
Although the Russian version follows the story framework of the American version, its form and connotation have broken through the American version. The story scene has changed from a narrow deliberation room to an empty school gymnasium. The entire film is 159 minutes long. The space and time are extended compared to the American version, and the connotation is richer.
The film keeps flashing back to the Chechen war and the boy's memories from beginning to end. The old gymnasium where it is located is more reminiscent of the Beslan hostage incident that also happened in the school gymnasium a few years ago. The cruel scenes of the war and the pain of memory are rendered for the film. The atmosphere is deep and solemn, in an ironic contrast to the relaxed attitude of the jurors at first. In the reminiscence picture, the piano burnt in the war, the broken hand with a diamond ring held by a dog, always stings the nerves of the audience, which is a metaphor for the decline of civilization and the confusion of values that Russia has experienced.
During the trial discussion, each of the twelve jurors told a story based on their own experiences. They had different identities and experiences and represented all classes in Russia. The 12 stories reflected the social turmoil and changes in Russia in recent decades. . While reviewing their own experiences, they are looking for lost values and conscience, which is also Russia's self-examination of historical and social issues.
The difference between the Russian version and the American version is also presented. In this film, the change of jurors' attitude towards the case mainly depends on the return of values and conscience. Although there is also case reasoning, it is not as important as the American version. In particular, the first few people who voted for acquittal all started from their own experiences, gave acquittals from their conscience, and then went to reason to convince the rest of the people. The transformation of the rest of the people depends more on giving up their prejudice rather than being judged by them. reasoning to persuade. Unlike the American version, which emphasizes jurisprudence and justice, the Russian version emphasizes the return of values. The US version ends at 12:0, justice is done, and the law is upheld. The Russian version has an 11:1 turn before 12:0, pointing out the tragedy that legal justice cannot save - the case has ended, but the hatred that caused the tragedy has not ended. The solution in the end was Nikolai's humanity, and he temporarily adopted the boy who had left the detention center with nowhere to go. More specifically, Nikolai, now an artist, was also a former military officer — the same experience as the boy's Russian stepfather. The change from soldier to artist has a beautiful meaning of turning guns into roses, and taking in Chechen orphans to continue the unfulfilled duty of Russian adoptive father also conveys the director's desire to let go of historical hatred, abandon prejudice, be kind, and focus on the future.
At the end of the film, the engineer walks into the room alone, kisses the statue of the Virgin and releases the birds. It is raining outside the window, and the engineer prays silently. Russia is an Orthodox country with profound religious traditions. The image of the Virgin is a call to return to the spiritual heritage and humanitarian care of the Russian nation. Think of the poster of this film - countless birds fly in the minds of those who bow their heads and meditate. The birds flying towards the wind and rain symbolize the unremitting pursuit and hardships of Russian intellectuals for freedom. And this kind of sympathy for the nation and adherence to the consciousness of freedom are the great spiritual heritage of the Russian traditional intellectuals since Tolstoy, Dostoevsky and Solzhenitsyn.
The film's opening credits are also very meaningful.
Title: Don't look for the truth of life, try to feel the true meaning of life!
An imperative sentence sets the tone of the entire film, which can be understood as calling for true value return and humanitarian care beyond the rigid and indifferent legal rationality.
End credits: The law is eternal and supreme, but what if mercy is higher than the law?
A question still haunts the viewer's mind after the film ends, and I am afraid no one can easily give an answer.
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