Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran ... See full summary »
A police lt. is ordered to stop investigating deadly crime boss Mr. Brown, because he hasn't been able to get any hard evidence against him. He then goes after Brown's girlfriend who despises him, for information instead.
Evie's co-workers at the uniform shirt factory, and her almost-fiancée's inability to kiss, inspire her to slip a letter into a size sixteen-and-a-half shirt for some anonymous soldier. ... See full summary »
At overcrowded Westgate Penitentiary, where violence and fear are the norm and the warden has less power than guards and leading prisoners, the least contented prisoner is tough, single-minded Joe Collins. Most of all, Joe hates chief guard Captain Munsey, a petty dictator who glories in absolute power. After one infraction too many, Joe and his cell-mates are put on the dreaded drain pipe detail; prompting an escape scheme that has every chance of turning into a bloodbath. Written by
Rod Crawford <email@example.com>
Former Warner Bros. producer Mark Hellinger, who had started his own independent production unit at Universal-International, wanted Wayne Morris to star in his first picture, The Killers (1946). Warners wouldn't loan Morris out, so Hellinger cast Burt Lancaster, who had made his motion picture debut in "The Killers". See more »
The character Soldier is in prison after taking the blame for a murder that took place when he was serving in Italy with the U.S. Army. Therefore, he would not have been in a civilian state prison. He would have been sent to the U.S. Disciplinary Barracks at Fort Leavenworth, as he would have been court-martialed while still being a member of the U.S. Army. At the very least, he would have been sent to a federal prison if he'd somehow (highly unlikely) been able to get sent to a civilian facility. See more »
[Inmate Muggsy, accompanied by prison guard Hodges, walking across the prison yard]
You know, the way I got it figured out...
Make sense. What are you trying to say?
Well, uh, I gotta' favor to pose you.
Don't ask me no favors. I can't be bribed, see? Besides, you ain't got enough dough to bribe me.
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I've read recent reviews of this film that condemn it for being "outdated" or not "relevant". Um, hello? This movie is is fifty-seven years old! As such, we are treated to typical 1940s Hollywood stereotypes and acting methods, not to mention references to the recently completed war. Yet, even within the pitfalls of the studio system, this film shines as a great example of film noir.
Director Jules Dassin is brilliant with light, and sets the example for the French "new wave" of cinema. Lighting Burt Lancaster from the side, or from underneath, makes him and the other actors look almost surreal.
Most of the dialogue is "clipped" and preposterous, but films from this era often suffer from this same problem. Yet "Brute Force" retains its original power simply by virtue of the dynamite performances, the stirring score, and the gritty techniques of Dassin.
I had to smile during the scene where Hume Cronyn's character turns up the Wagner on his hi-fi so the guards outside his door won't hear the inmate he's about to beat scream. This was mimicked during David Lynch's ground-breaking TV series "Twin Peaks" when a character turned up his radio before he beat his wife. Of course beating people isn't funny, but seeing obvious references in cinema is always a kick.
I highly recommend "Brute Force" to anyone who appreciates the art of film, great directing, and fine performances.
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