Power of Communication – Twelve Angry Men

Jeet Mody

Power of communication – Twelve Angry Men

The film Twelve Angry Men starts with an eighteen year old kid from the ghetto who is on trial for the homicide of his damaging father. A jury of twelve men is secured in the consultation space to choose the destiny of the young man. All proof is against the kid and a blameworthy decision would send him to bite the dust in the hot seat. The judge advises the members of the jury that they are confronted with a grave choice and that the court would not enthrall any demonstrations of leniency for the kid if discovered blameworthy.

Indeed, even before the thought talks start it is clear the vast majority of the men are sure the kid is guilty. Be that as it may, when the beginning survey is taken Juror #8 (Henry Fonda) registers a stunning not guilty vote; immediately the room is in mayhem. Whatever is left of the jury detests the impediment of his choice. In the wake of scrutinizing his rational soundness they quickly choose to silliness the member of the jury #8 (Henry Fonda) by consenting to talk about the trial for 60 minutes. In the end, as the discussions continue attendant #8 gradually undermines their certainty by saying that the homicide weapon is generally accessible to anybody, and that the affirmation of the key witness is suspect. Progressively they are won over by his contentions and even the most biased of his kindred members of the jury reluctantly concurs with him. Their decision is currently a strong not blameworthy.

Landing at a consistent not blameworthy decision does not come effortlessly. The jury experiences numerous challenges in figuring out how to speak and manage one another. What is by all accounts a conclusive guilty decision as thoughts start gradually turns into a faulty not certain.

Henry Fonda's (Juror #8) interpersonal style is open-responsive. He levels with the others by transparently conceding that he doesn't know whether the kid executed his dad and requests criticism keeping in mind the end goal to settle on a precise choice. He says "I just don’t think we should send a boy off to die without at least talking about it first." The way he talks about it urges the others to level and be interested in get input. The movie delineates the procedure of leveling and requesting input which can have all the effect.

The character with the biggest shrouded window is the kid on trial. Understanding this, Henry Fonda (Juror #8) tries to place himself in the young men shoes to pick up a superior comprehension of his circumstance. "The poor boy has been beaten on the head once a day every day since he was five years old!” and “I think if I were the boy I’d get myself a better lawyer… He didn’t stand a chance in there." For this situation