Carl Monroe and 'Joker' Johnson share some things: They are both in jail and they both hate each other. After a fist fight the are going to be put into an other jailhouse by car. They come ... See full summary »
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
Joker Jackson and Noah Cullen are two convicts on a chain gang who hate each other. After a truck prison accident, they flee and are pursued by the police. While they're chained, the two are dependent on one another. When they eventually get rid of their chains, their hostility has been changed into fellowship and respect. Written by
Tony Kessen <email@example.com>
Full marks for guts, more than half marks for merit
Proof that Stanley Kramer's decision to idealise the Sidney Poitier character in "Guess Who's Coming to Dinner" was a conscious, thought-out move (some would say it was a mistake for all that, but that's another matter), and not a cowardly or patronising one. Poitier's convict here has streaks of nobility - Curtis's does too - but the aggression for which he was jailed is real enough.
For the first half, everything is firmly screwed in place: the black and the white convict chained together, the local volunteers tracking them down, the humane sheriff trying to keep his forces in check. Things started to shake themselves loose when the woman makes an entrance. The story had worked well so long as the two convicts were estranged from civilisation, with only each other to fall back on, and it might have continued to work, if the woman had been interesting in some other way than as a plot device. In fact things got better again as soon as she vanished from the screen.
Solid and intelligent, but the other well-known Kramer films, considered as films, are better.
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