FeistyUpper If you don't like this, we can't be friends.

BeSummers Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Rexanne It’s sentimental, ridiculously long and only occasionally funny

vostf I was curious to track down this movie for all the praise it got by IMDb reviewers. Some were so ecstatic as to rank it as a major directorial effort from journeyman Lautner. They were openly lamenting 'too bad he did not keep up with this kind of bravado'.In the land of the blind, the one-eyed man is KingI guess these movie buffs must be watching too many bad movies as they compete to review the long tail of IMDb's inventory. This sets their expectations pretty low. Sure 'Le septième juré' has a great cast lead by the magnificent Bernard Blier, although characters are more picturesque than deeply engaging, and its story-line is compelling.The social commentary does hold it together, but honestly this is really not done masterfully here. Voice-over narration fast turns a nice movie into a verbose hack. All the more so when the voice-over delivers a bitter ironic social commentary. Actually this is very much a literary device: that is why I won't mistake Bernard Blier forceful performance with a directorial tour de force.I may be forgetting a couple of details but frankly I cannot see where the direction lifts the script and the cast well above their raw potential. Rhythm, suspense, cast interaction (let alone real chemistry): all these rank pretty low here in my scale of expectations.All in all this is an OK movie, worth watching if you're a fan of Blier (and of Maurice Biraud or Francis Blanche). Don't expect to much and you will be rewarded by the fine performances. Now personally I was much less impressed by Blier here than in Quai des Orfèvres (whose director's ability doesn't call for a lengthy debate) where he has less screen time.I would rather recommend tracking down Non-coupable (1947) on a similar premise. In this one the work by director Henri Decoin is unmistakably excellent (rather than adequate, at best, in the Le septième juré). There the social commentary is actually blended in the story, not painted over it. And of course on the topic of a juror stepping in for a weak defence you always have the excellent Twelve Angry Men. Le septième juré is nowhere near half as good as any of those 3 movies by Clouzot, Decoin and Lumet, so if this is really the best Lautner could do, no wonder he never came close to acclaimed directors.

Spikeopath Le septième juré (The 7th Juror) is directed by Georges Lautner and adapted to screenplay by Pierre Laroche and Jacques Robert from the Francis Didelot novel. It stars Bernard Blier, Maurice Biraud, Francis Blanche, Danièle Delorme and Jacques Riberolles. Music is by Jean Yatove and cinematography by Maurice Fellous. Horrible Crime Near Pontarlier! Overcome by the sight of a nude lady sunbather, Grégoire Duval (Blier) forces himself upon her and in a panic strangles her to death when she begins to scream. Returning back to his hum-drum existence, Duval is shocked to find the victim's boyfriend charged with her murder on circumstantial evidence. He's even more shocked when he is chosen for jury service on that very trial... Crime of a coward - or a madman? A caustic and potent piece of French cinema, Le septième juré operates on many narrative levels. In parts it's a cracker-jack legal drama, featuring a court case of dramatic verve, while the observations about the sometimes folly of the law is brutally laid bare. At other parts it's a cutting deconstruction of small town mentality, of class distinction and standings, all of which are not favourably portrayed in the slightest. First you must save your soul. Firmly operating in the realm of film noir, the makers produce a clinically atmospheric picture. Georges Lautner opens with an ominous shot of a lone fisherman in his boat, out on a mist covered lake, the accompanying classical music amazingly in sync with the scenes. It's evident from this point we are in for some visual and aural treats. Blier provides a classic noir narration as we move among bohemian architecture, through smoky jazz clubs and clientèle exclusive bars. At night the streets are full of shadows, in daylight there's a muted tone to Maurice Fellous' photography, this is not a happy place to live - unless you be one of the secular bourgeois of course... Othello was misunderstood too. Other imagery strikes hard. A confession box sequence is brilliantly filmed, noir nirvana, a tilted mirror used during a key exchange between husband and wife is astute, and the pièce de résistance that involves grotesque reflections on a brandy glass. Haunting scenes drop in and out, normally involving the tortured Duval staring blankly out at someone, while the court case is a hot-bed of hurt and chaos, even turning to the macabre as the crime is reenacted at the actual murder scene. Lautner also likes pull away movements as well, and so do we! Superbly acted, directed, scored and photographed, this is yet another French film that proves that although the first wave of American film noir had faded cum the start of the 60s, the French were keeping the flame alight well into the decade. From that opening misty lake scene, to the black twist finale that is crowned by a stunning ambulance light sequence, this is black gold cinema. Merry Christmas. 9/10

writers_reign Georges Lautner is possibly best known outside France for a film he made shortly after this one, Les Tontons flingeurs, which enjoyed something of an international mild success. He compensated by making scads of multiplex fodder but with The Seventh Juror he turned in his piece de resistance. Basically it adds a new wrinkle to such entries as The Big Clock, Mr. Arkadin and Police Python 357, that wrinkle being that a murderer finds himself on the jury when the wrong man is brought to trial. Stumbling across a young woman sleeping topless in the open air the middle aged Blier succumbs to temptation and attempts to rape her. When she begins to scream for help he moves his hands to where they will do the most good and chokes her to death. Remaining undetected he stands by as an innocent (in this case) man is charged with the crime and then winds up on the jury where he does everything he can to secure a not guilty verdict. Never exactly sylph-like even in youth Blier in middle age resembles no one so much as Sydney Greenstreet and performs just as well if not better. It is, of course, really the town itself that is on trial - we are clearly in Le Corbeau and Les Inconnus de la maison country here - and there is a brilliant twist at the end. Made in 1962 it it also sticks two fingers up at the new wavelet brigade. Masterful.

ifasmilecanhelp Sometimes ago, I read the comments on Le 7ème Juré, which opened my interest to have a look on it. Though Bernard Blier has never been someone I liked very much, perhaps only for his cold demeanor...Possibly not explainable, or just because occasionally you like someone you don't know, and you have no apparent sympathy for another one... it just goes by feeling.I have still no "ellective affinities" with BB (not Brigitte Bardot, don't get me wrong! :) but his fine performance reminds me his other movies in which he plays. Amici miei (Mario Monicelli 1975) is one example that comes to my mind... (much more enjoyable, only because it's a kind of comedy)My apologizes to Blier : he's pretty good ! Once more !They are pretty good, too, in that small town, with the conspiracy of silence, and indulgence for the good society. What can be said, what should not... an so forth!Lautner is also not known to me to make very funny nor good films, but mildly diverting ones. Sorry for his fan! Now, in that one, possibly his cinematographic achievement, he demonstrates an accurate vision of human society.And as said by another comment I wonder why he didn't use this creative force to make more ones like Le 7ème Juré. For me, it is not possible to like this movie: it is too true, to well describing how it goes and functions everywhere... But it's an excellent one! Critical, cynical, clinical and desperate : great drama/thrillerOne may, like me, not like it but still appreciate it, as I did : great cinema !