Kirpianuscus a complex story. about truth, society and humanity essence. about justice. and about a decision who escapes from the ordinary life of each prisiazhnyy. not comfortable. almost cruel. because it is not only a Mihalkov film. but a precise fresco of Russia, small sins who become essential to decide, about guilt and about lies, about the judgement about yourself. each did it a religious film in the manner who only Russians are the science and courage and patience to do one. because pieces from Tchekov and Dostoievsky and Harms are mixed in a honest portrait of the ways to escape from reality, to be protected by large zone of selfishness, to do a verdict about the other like for yourself. and if ? this is the question who transforms in experience this film for the viewer. because the viewer has the chance to be one of prisiazhnyy. or the Chechen young man. so, it is useful to see it !

Syl Even though, it's a loosely based version of the play, 12 Angry Men. The film is about 12 Russian male jurors who decide the fate of a Chechyen orphan who is accused of killing his stepfather, a Russian soldier and officer. Anyway, the film is done quite well with a fantastic cast of actors who each take a turn in defending their guilty to not guilty decision on the basis of the boy. Each actor takes a dramatic turn and we learn about their reasoning and rationale for their decision. It's a fascinating portrait and study of the Russian judicial system and an event such as the Chechyen War conflict which I don't know much about except from the film that it's bloody, dangerous, and unforgiving hell. The boy and the jurors aren't given names but each possess great performances in dramatic film. This Russian film is terrific and was nominated for the Academy Award for foreign language film. I wonder who it lost too because it's a great film and worth watching.

Chris Knipp In Mikhalkov's preposterously overblown remake of Sydney Lumet's Fifties jury deliberation drama 'Twelve Angry Men,' a Chechan teenager (Apti Magamaev) is on trial for the murder of his adoptive Russian father. To begin with, as in the Fifties movie, one man initiates a long complicated process of reevaluation by voting "not guilty" when everyone was prepared to send the boy off to life imprisonment and go quickly on their way. In the original he was Henry Fonda, whose air of probity was impeccable. This time he's a successful inventor with a lurid alcoholic past (Sergey Makovetsky) and he sets no standard of probity. Though "reasonable doubt" is mentioned (one of the jurors has studied at Harvard and has the phrase in his head), the dissident vote has no logical or specific basis. He just sort of thinks it was a good idea to vote the other way.Forget what happened in court; the meaning of the case; the analysis of the evidence presented. '12' focuses on the lives, the traumas and prejudices of the participants; the turmoils of a nation--and finally, most peculiarly, on what's best for the accused, be he innocent or guilty.'12' is elaborate, illogical, and absurd. In terms of jury deliberation it is absolutely ridiculous. But it puts on a great show.We are somewhere around Moscow. The twelve worn out, middle-aged men are locked by the bailiff in a school gym. And this is emblematic of the film's style. The men may be locked in, but they have a lot of room to play around in. No mere solemn deliberations around a long table for them--though there is a long table, and they do intermittently sit at it, these heavy-set, darkly garbed men, with a cluster of plastic water bottles in front of them.Never for very long, though. In the course of the drama the twelve jurors throw a ball at a basketball net and a hypodermic at a dart board, or lift weights or play a piano. They restage the crime in a mockup of two matching apartments. They throw knives, and to prove a point, one threatens to stab another. They wander around, smoke, send off alarms, throw up, rage, sob. Mikhalkov is shamelessly prepared to do absolutely anything to keep this from being just a lot of talk. Hence the gym and all its accouterments, which include a giant disco reflector ball, an auxiliary lighting system, moments of total darkness, candlelight and spotlights, a large decaying heating pipe, and a wheelchair. And, the corniest possible symbol of confinement--a lone sparrow. And a series of independent "arias" when one juror or another gets up and does a long dramatic monologue about himself.But that isn't enough. In the middle, there is a giant explosion, and there begin a series of flashbacks to the Chechan war, with fires and bombs and a dog running past the camera with a severed hand in its mouth. There are also many images of the accused as a boy, cowering among the rubble, or as a prisoner, dancing around in his cell in a down coat to keep warm.Nonetheless '12's so successfully full of itself that it makes its over two and a half hours go by before you know it--despite a lot of wasted time and sloppy excess. Through the jurors' wild digressive monologues Mikhalkov and his co-writers Vladimir Moiseenko and Alexander Novototsky-Vlasov almost succeed in redefining what deliberations are about. But ultimately they are simply distracting us from the fact that he's only using the deliberations as a hook on which to hang all his thoughts about Russia's modern journey and the meaning of life.The deliberations, therefore, aren't about the case. They're about the jurors (this figures in Lumet's film too, but more quietly). A belligerent bigot cab driver (Sergey Garmash) calls Chechans "savages" and assumes the boy is guilty. He attacks the elderly Jewish intellectual (Valentin Gaft) who's the second to switch his vote to "not guilty." He intimidates the Harvard man, a TV producer and a caricature (Yuri Stoyanov) into a fit of nausea and paranoia that leads him to change his vote back to "guilty." And later a reenactment awakens such painful contrition over his own violence as a father that he switches, late in the game, to "not guilty" himself.A surgeon (Sergey Gazarov) sympathizes with the boy because of his Caucasian origins. A self-made man with sympathies for the underdog, he rejects the cabbie's bigotry early on. He also does a carnival turn showing off his back-home skill at knife-twirling. The director himself plays the jury foreman, who has his own surprise twist toward the end to disrupt things after it seems unanimity has been achieved at last.What are we to make of all this? It must be seen more as an epic, operatic riff on the theme of Twelve Angry Men than a contemporary Russian re-imagining of its original concept. The concept of the law is remote from ours. In fact there is an epigraph to the effect that though the law is steadfast, mercy may take precedence over it. And there is no doubt about the reasonableness (amid all that is surreal here) of such concepts coming to mind when jurors must deliberate in a murder trial.I lost tract of the reasons why various jurors changed their minds. When one did, usually somebody else followed suit. It was to be expected. One forgot to ask why. And in the end, '12' violates our essential notions of what a jury trial is about: that it has to do with arriving at a fair and accurate decision about a specific case. This can't possibly be called a good movie. But it's too vivid, entertaining, and rich in ideas to dismiss out of hand. As an artifact of contemporary Russia it is a mine of information--though all to be taken with a grain of salt.

milchenko88 The film overall is a Modern Russian Masterpiece. There are no other films like it in Russia, that what makes it unique. Mihalkov wanted to do this film all his life.But of course to understand it fully, you need to know the actors, how they play in other films, their style, Mihalkov just gave them the script and the rest they did themselves. The director let them loose sort of speak. For those who know Makovetskiy, Yefremov, Gaft, Stoyanov, will understand what I mean.Pure emotion lifted me up after about 15 min into the film and never left until about 2 days after the film :) I wouldn't compare it to 12 angry men... "12" is a Russian film, with Russian spirit, but for everyone in the world to see and feel and realise what the director wanted you to.Watch it, you will think about "life", kindness, yourself and others.