Cool Hand Luke (Stuart Rosenberg, 1967) Paul Newman, George Kennedy, Strother Martin; laid-back Southern man sentenced to two years in a rural prison refuses to 'get his mind straight'
The source material for this was written by a man who worked on a chain gang for two years. The 'theme', as we were taught to say in highschool, is that 'the man' will beat you down if you don't conform, and eventually kill you if necessary. Paul Newman was mis-cast, as he just about the most irrepressible actor you ever saw work. In a futile attempt to make amends, the director inserts some stills at the very end of the film, showing Luke in various smiley-faces from earlier on - before he was being taken away to bleed to death after being shot in the throat.
I think I saw this decades ago, but if so recall only, and only dimly, the egg-eating sequence, partly because it's just ridiculous. I suppose it's in the film for 'comic relief'.
I happened this morning to hear one musical sequence - a 'dance' - from a ballet by Tchaikowsky, and it struck me that you could draw a useful analogy between such a ballet and a film like this—with a serious doco-like subject made into 'entertainment'. In between many scenes of gangs working on roads there are set scenes each with a beginning and an end, notably the 'dance of the fight' (between genuinely-tough 6'4" George Kennedy and Newman - guess who wins) and the 'egg-eating dance' (Newman wins that one).
If this film has any value now, it might be because you get to see some of the early work of Harry Dean Stanton and Dennis Hopper.
Mention this movie and the first thing people do is quote one of the most famous lines in movie history: "What we have here is failure to communicate." No question that's a great line. But there is so much more to this movie and it holds up beautifully 45 years later.
Based on the novel by Donn Pearce, who spent two years on a chain-gang, this is the story of Luke (Paul Newman) who just can't bring himself to conform to the rules, regardless whether those be the rules of the military, society, prison, or those self-imposed by the convicts. We are introduced to Luke as he drunkenly cuts off the top of parking meters on main street of a small town. Later, in a throw away line, we learn he was gaining revenge on someone. It's the clear indication that while he doesn't always want to fit in, Luke clearly knows right from wrong.
There are so many terrific scenes in this film, that it's not possible to discuss each. Every scene with the prison warden, played by Strother Martin, is intense. Each of the Boss guards are frightening, especially Morgan Woodward as the sharpshooter behind the mirrored shades. There are numerous impactful scenes featuring the group of convicts. Even though we learn little about the individuals, we realize the fragile male psyche is on full display. Despite the power of all of these characters and scenes, the real strength of the film is the relationship between Luke and Dragline (George Kennedy). Watching the early cat and mouse game, and the subsequent transfer of power, feature two amazing actors at the top of their game.
George Kennedy rightfully won the Best Supporting Actor award and continued on to become one of the most successful and prolific character actors of the 70's and 80's, and his career culminated with his iconic role in the Naked Gun series. As for Paul Newman, this is one of his best performance in a long line of standout performances. This one is in the middle stage of his career and he exuded manliness with a touch of sensitivity. He and Strother Martin would meet again in one of the best sequences of Butch Cassidy and the Sundance Kid.
Watching Luke win over all the convicts, including the previous leader played by Kennedy is stunning, yet gut-wrenching when offset by the scenes with the guards who are hell bent on getting Luke to understand his place. They understand the risk he poses to the systematic rhythms of the prison.
The supporting cast is downright incredible. This was the feature film debut for: Ralph Waite (4 years later he became the beloved paternal figure of TV's The Waltons); Joe Don Baker(Buford Pusser from Walking Tall); James Gammon (later the crusty manager in Major League); and Anthony Zerbe, another iconic character actor of the 70's and 80's. Also featured are Dennis Hopper, Harry Dean Stanton (singing a few songs), Wayne Rogers (from MASH), Richard Davalos (James Dean's brother Aron in East of Eden), and Rance Howard (Ron's dad as the sheriff). In a brief, but truly great scene, Jo Van Fleet (also from East of Eden), appears as Arletta, and we quickly understand Luke's background.
Often overlooked by film historians, "Lucille" putting on a show for the convicts as she washes her car, is a scene that is meant for more than titillation. As she creatively buffs the windows, the reaction of the convicts reminds us that these are still men and no amount of humiliation and degradation can change that. One of my friends argues that Joy Harmon was clearly cheated out of an Oscar for this scene.
The score is the handy work of Lalo Schifrin and expertly captures the moment ... especially in the black top scene. Director Stuart Rosenberg was known only for his TV work when he got this script. He went on to direct another prison movie in 1980 called Brubaker. Starring Newman's Butch Cassidy co-star Robert Redford, the film was a decent prison drama, but not at the level of Cool Hand Luke ... which by the way, was installed into the National Film Registry in 2005.
Garry Gillard | reviews | New: 232 February, 2021 | Now: 24 February, 2021