What’s His Name? John Fiedler: The Man The Face The Voice

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Fiedler was born in Platteville, Wisconsin, on 3 February At the age of 5, he moved with his family to Shorewood, Wisconsin. He started his career in show business on the radio comedy program The Aldrich Family. In , he began his television career as a regular on the s children's science fiction series Tom Corbett, Space Cadet. He remained on this series until , after which he made his Broadway debut in the farcical play One Eye Closed , which ran for only three performances in November.

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He made his feature film debut playing Juror 2 in the Academy Award-nominated drama, 12 Angry Men. He reunited with that film's director, Sidney Lumet , for two more films, the first of which was the drama Stage Struck. He reprised his characters from both of these plays in their respective feature film adaptations A Raisin in the Sun in ; The Odd Couple in Fiedler and Dooley later reunited for an episode of Tales from the Darkside in , twenty years after acting together on the stage.

Fiedler voiced the character of Piglet for the first time in the animated film, Winnie the Pooh and the Honey Tree , followed in by Winnie the Pooh and the Blustery Day. Throughout the next thirty-seven years, Fiedler voiced Piglet in six more feature films including two more with Howard in the s , three television series, three TV specials, several direct-to-video productions, and even the video game, Kingdom Hearts.

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Please enter a valid ZIP Code. Shipping to: Worldwide. No additional import charges at delivery! This item will be shipped through the Global Shipping Program and includes international tracking. Learn more - opens in a new window or tab. There are 3 items available. Please enter a number less than or equal to 3. Select a valid country. Please enter 5 or 9 numbers for the ZIP Code. Delivery times may vary, especially during peak periods. Note that he does not say "he," meaning the defendant, but "they," the group as a whole, which shows that he cannot make a fair judgment about individual guilt.

Juror Nine, the old man with much experience of life, sees this immediately and rebukes Juror Ten "Since when is dishonesty a group characteristic? But Juror Ten's bigotry continues to smolder before finally erupting in a long speech near the end that leads the other jurors to reject him.

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The message is clear that such irrational prejudice is incompatible with justice. Juror Four also shows signs of such prejudice, though he couches it in more acceptable words: "The children who come out of slum backgrounds are potential menaces to society. In the play, the defendant comes from a slum, but there is nothing to suggest that he is not white, as all the jurors are. In the film version, however, the defendant is shown in a fairly lengthy shot at the beginning.

He is clearly Hispanic, perhaps Puerto Rican, and looks sad and vulnerable, rather different from the thug the jury initially believes him to be. The defendant as a member of an ethnic minority gives an entirely new, racial dimension to the notion of prejudice. The positive message is that in the end, prejudice is overcome in the light of reason, and perhaps those who express such prejudice are left to ponder how foolish and bigoted they have made themselves look.

However, there is another, less positive way of seeing this issue. The ideal of the judicial system is that a person is judged by a jury of his peers, but the cross-section of white males on the jury can hardly be considered peers of the boy whose fate they are called upon to decide. It might also be argued that in showing the jurors almost to a man rejecting the blatant racial prejudice of Juror Ten in a scene that is visually powerful onstage and onscreen , the playwright presents a rosy view of American society in the s, which could hardly be said to be free of such prejudice against minorities or even to be willing to face up to the existence of it.

Another view would argue that the playwright is aware of such social problems and is trying to educate his audience, encouraging them to see and reject attitudes that he has reason to believe many of them may hold.

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The play suggests that not only must class and race prejudice be overcome, so must political differences. Juror Eight adopts a classic liberal position. He tries to understand the social background from which the defendant came, explaining the boy's anger as a reaction to his social conditions: "You know why slum kids get that way? Because we knock 'em over the head once a day, every day. They have no sympathy with examining the social causes of crime and simply want to get tough on the criminal.

But the play shows that both liberal and conservative positions are essentially irrelevant in deciding whether the boy is guilty. The jurors must transcend their political differences and work together to find out the truth. In this sense, the play is a microcosm of democracy at work. Everyone has their say, and everyone works together to further the common good, which, in this case, is the administration of justice.

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It is Juror Eleven who makes this connection between the American judicial system and the democracy that, as an immigrant, he loves and respects because it is so different from what he knew in his home country. He emphasizes that everyone must play their part in it: "We have a responsibility. This is a remarkable thing about democracy…. We have nothing to gain or lose by our verdict. This is one of the reasons why we are strong. The play has only one setting, the jury room, though both films and later stage productions added a washroom.

Props are minimal, consisting mainly of a long conference table and twelve chairs. The room is hot and humid, since there is no air-conditioning and the fan does not work. The atmosphere is claustrophobic, and the men are understandably short-tempered. This confined setting helps produce the basic rhythm of the play: a juror or several jurors will provide exposition, reviewing some of the details of the case, and this will be followed by a flare-up, in which jurors express sharp disagreements and engage in bad-tempered exchanges. These, in turn, are followed by a quieter phase as tempers calm, before more exposition sets the rhythm in motion again.

In this way, the static setting, in which no one comes or goes, is overcome by the dramatic rhythm inherent in the dialogue. The static setting is also mitigated by the way the director has the actors move around the stage as the arguments ebb and flow. In the film version, the heat of the room is conveyed by the jurors shown with their shirts visibly stained with sweat. This also contributes to characterization, since Juror Four, who remains calm and rational throughout, does not sweat.

After the thunderstorm cools the room a little, the sweat dries up, except in the case of Juror Three, which conveys something about his tense, emotional state of mind. Film provides opportunities a stage director does not have; in the film, the director Sidney Lumet achieves movement and variety by frequently varying the camera angles. The changes in camera angles multiply as the dramatic tension increases.

Also, Lumet progressively lowers the level from which the movie is shot. The first third is shot from above eye level, the second third at eye level, and the last third from below eye level. In the last third, the ceiling of the room begins to appear, giving a sense that the room is getting smaller.

Lumet's use of progressively longer lenses also contributes to the seeming diminishment of the room. Lumet began with normal-range lenses of 28 to 40 millimeters and then progressed to , , and millimeter lenses. The length of the lens refers to the focal length, or the distance from the focal point to the lens.

The longer lens alters the relationships of subject and background, giving the impression in the film that the walls are closing in and also making the table look more crowded, thus adding to the atmosphere of claustrophobia. The decade of the s is sometimes known as the golden era of television, largely because thousands of live dramas were broadcast during that time. These dramas supplemented the standard television fare of variety shows, westerns, and soap operas.

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It was during this period that television replaced radio and film as the chief medium of entertainment for the American family. Rose recalled in an interview the challenging but rewarding nature of television drama in the s: "It was a terrifying experience, but very exhilarating. But there were always mistakes…. Rose recalls cameras breaking down and shows that ran either too long or too short to fill the exact time slot allocated. There was great variety in the content of these dramas.

Most, however, were original dramas. The constant demand for new plays provided a fruitful creative outlet for writers, directors, and actors in the new medium. Television drama offered actors who were not well known in movies their first national exposure.