Ben Sanderson, a Hollywood screenwriter who lost everything because of his alcoholism, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera..
After a prank goes disastrously wrong, a group of boys are sent to a detention center where they are brutalized. Thirteen years later, an unexpected random encounter with a former guard gives them them a chance for revenge.
In 1959, Truman Capote learns of the murder of a Kansas family and decides to write a book about the case. While researching for his novel In Cold Blood, Capote forms a relationship with one of the killers, Perry Smith, who is on death row.
Philip Seymour Hoffman,
Clifton Collins Jr.,
In Canton, Mississippi, a fearless young lawyer and his assistant defend a black man accused of murdering two white men who raped his ten-year-old daughter, inciting violent retribution and revenge from the Ku Klux Klan.
Samuel L. Jackson
A convicted murderer on Death Row and the nun who befriends him. Through the portrayal of finely drawn characters and their interactions as the days, hours, and minutes tick down to the condemned man's execution, powerful emotions are unleashed. While Matthew Poncelet and Sister Prejean desperately try to gain a stay of execution from the governor or the courts, scenes are intercut from the brutal crime, gradually revealing the truth about the events that transpired. In addition to her temporal help, the nun also tries to reach out spiritually and assist as a guide to salvation.Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
In the heart-shaped symbol at the end of the credits, the initials EMLA, JHR, MGR, and SS stand for Tim Robbins' family with Susan Sarandon (SS) -- Jack Henry Robbins and Miles Guthrie Robbins (their two sons together) and Eva Maria Livia Amurri (Sarandon's daughter with Franco Amurri). See more »
I haven't seen many films that really, truly made me rethink a long-held position or opinion on a thorny issue, but "Dead Man Walking" is one of them.
I read Sr. Helen Prejean's book, upon which this film was based, when it first came out in 1993. At that time I was utterly supportive of capital punishment -- to quote the script, I felt anyone who committed crimes horrible enough to land them on Death Row was an "expendable human being, suckin' up tax dollars." I also had personal experience with the issue when an entire family whom I knew in my childhood were slaughtered by a man who is now on Death Row for his crimes.
As you might imagine, I was disgusted with Sr. Helen's book. I thought that trotting to death row and holding the hand of some scumbag who'd killed innocent people was about the lowest thing anyone could do, and as a Catholic I was offended by the seeming hypocrisy of it.
Because I had disliked the book, I never saw the film until about two weeks ago, when I bought a remaindered copy of it in a video store. I have watched it four times since then, mostly because I am trying to work out my feelings on it. I am still a supporter of capital punishment, but it's going to be less easy for me to ignore the fact that (to quote again), "There's nobody with money on Death Row" -- and quite a few more blacks, now that I think of it, AND the fact that, like Matthew Poncelet's character, the men who are being executed are human beings who have feelings and fears. It's easy to jeer at Matthew on the day before his execution, fretting nervously about whether the lethal injection will "hurt," like a little boy at the doctor's office for a penicillin shot, since his victims' last moments certainly "hurt." What isn't easy is to realize that while the victims of these inmates didn't know they were about to die until it was too late, the inmates themselves have what seems like a blessing at first, but upon deeper examination is the greatest curse: knowing the exact hour and day they will die, and having to face it day by day, hour by hour, minute by minute.
I'm sorry if this review offends people who are sincere death penalty supporters. I still consider myself to be one, but my thinking has been reformed somewhat and I'm more ready to listen to the opponents and try to make compromises; maybe that's what this issue needs more than anything. I will say finally that ONE part of this film did offend me as a Catholic: the symbolic "crucifixion" of Poncelet during the "last words" scene. That was the one place where Robbins strayed from his even-handed approach to the issue -- the only one I could find.
In all, this was a fine film that made me rethink an explosive issue, and I recommend it highly to anyone debating the pros and cons.
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