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.
Pinkie Brown is a small-town hoodlum whose gang runs a protection racket based at Brighton race course. When Pinkie orders the murder of a rival, Fred, the police believe it to be suicide. ... 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>
When the Group Theater (1931-1940), the first American acting company to attempt to put the Russian Stanislavski's principles into action, disbanded many of the actors who had participated in its revolutionary realistic productions on Broadway ("Awake and Sing" "Waiting for Lefty") made their way to Hollywood in search of work;, Roman Bohnen ("Warden"), and Art Smith ("Dr. Walters") - all of whom can be seen in this film. As many of the actors in The Group were members of the Communist Party or leftist organizations, they would soon be blacklisted during the HUAC period along with the director of this film, Jules Dassin. In 1946, a year before the release of this film, Elia Kazan, one of the members of The Group Theater who named names, happened to be in Hollywood and saw a production of one of Tennessee Williams's early plays "Portrait of a Madonna" directed by Hume Cronyn - who plays the sadistic Capt. Munsey in this film. Kazan was so impressed by the work of Cronyn's wife, Jessica Tandy, that he offered her the role of Blanche Dubois in his Broadway production of "Streetcar Named Desire." 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 »
Prison movies (and prison TV shows) are a genre unto themselves, and there are many genre requirements:
a good shiving
a good shanking
a machine-shop revenge-shiv-shanking (usu. w/ blow-torches)
lingering close-ups of cement
tastefully-filmed male rape (after 1970)
the insistent stage-whisper, "It's gotta be tonight!"
Well, Jules Dasin's Brute Force has almost all of the above. Burt Lancaster stars as Joe Collins, a hardened con in a cruel penal system who lives for only one hope: escape. Burt's nemesis is Captain Munsey, a sadistic guard played by Mr. Jessica Tandy himself, Hume Cronyn. Now, the very notion that Hume Cronyn could ever pose a physical challenge to Burt Lancaster is silly, so director Dasin wisely keeps them apart for most of the movie, until the extremely violent conclusion.
Lancaster shares a cramped cell with five other convicts, including Charles Bickford and Howard Duff (in his film debut). Their cell is adorned with a calendar featuring a picture of a girl so non-descript that each of the boys can see their own long-lost loves in her face, and we are treated to flashbacks showing how each of these losers got where he is today. Duff's flashback is the best while a soldier in Italy, he took the rap for a murder committed by his beautiful war-bride, Yvonne De Carlo. Howard Duff with an army-issue machine gun is but one example of how this movie goes above and beyond the usual prison fare.
The preachy scenes involving the prison's resident conscienceI mean doctorare worth fast-forwarding through (unfortunately those scenes are also genre requirements), and Burt tends to lapse into that sensitive Frankenstein acting that he does so well, but man, what a climax to this movie. It's this life's only opportunity to see a clench-teethed Hume Cronyn firing a gattling gun into an unarmed crowd.
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