
We're on the Jury
1937

Representation Score
Limited
1932
NRDirector
Lowell Sherman
Runtime
63 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Lowell Sherman’s Pre-Code direction allows for a nuanced exploration of social norms. The film's primary strength lies in its gender dynamics, particularly how it challenges the era's standards of female passivity through a disruptive female protagonist. However, the film lacks diverse representation. It remains anchored in the socioeconomic and demographic norms of its time, offering little portrayal of racial, LGBTQ+, or disabled communities. Ultimately, while the film provides a meaningful look at women's ability to drive the story within a patriarchal institution, it remains a product of a homogeneous studio system.
Category Breakdown
The film does not feature any characters or stories related to LGBTQ+ identities.
The movie challenges traditional gender roles by placing an unconventional woman in a position of judicial power. Mrs. Crane's ability to disrupt a male-dominated institution highlights her significant role in driving the story.
The film reflects the demographic uniformity typical of 1930s Hollywood. Its focus on high-society settings indicates a narrative centered around a predominantly white, Anglo-Saxon social class.
The film explores themes of subjective morality and the fallibility of justice. It questions the idea of a single legal morality through its unorthodox protagonist.
There are no characters with visible or invisible disabilities featured in the narrative.
Present on Screen
Limited or Absent
Official Synopsis
Society matron Mrs. Livingston Baldwin Crane is selected as a juror in the trial of former chorus girl Yvette Gordon, who's accused of murdering her rich older husband. In court and during deliberations, Mrs. Crane proves to be a disruptive and unorthodox juror.

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