Zelle R 17

BRUTE FORCE This intense, powerful drama stars Burt Lancaster as Collins, a prisoner who's got to find a way out, and Hume Cronyn as the sadistic Captain Munsey, who delights in torturing the inmates. Cronyn is masterful -- cast wonderfully out of character, his slick, soft delivery takes on a skin-crawling menace. Lancaster is appropriately hard and driven, but the fact that he's breaking out to be by his dying girlfriend's side seems facile. The weakest elements of this film are the flashbacks to how his cellmates got locked up. (It seems obvious these scenes are contrived to introduce women into an otherwise all-male cast.) It turns out none of them are really bad guys except Lancaster, who appears to be some kind of gangster. We aren't given much insight into his character; we know he's smart and a leader, but he's clearly got a tendency toward violence. Ultimately, however, it's not about how they got there, but who they are when they get there. It's about what pushes a man past his breaking point and what happens after that. Weaknesses aside, this is a worthwhile, thought-provoking film with excellent performances all around.

In the Westgate Penitentiary, the Warden A. J. Barden (Roman Bohnen) is a weak man, and the institution is actually ruled by the ambitious and sadistic Captain Munsey (Hume Cronyon), who uses violence, fear and treachery to control the prisoners. After the suicide of Tom Lister (Whit Bissell), one of the inmates of cell R17, provoked by Captain Munsey, the prisoners loses their privileges and rest of the group of cell R-17 leaded by Joe Collins (Burt Lancaster) is sent to hard and insalubrious work in the drain pipe. Joe uses a successful strategy of war trying to escape, attacking the tower of the penitentiary from the outside with his men, and from inside with the team leaded by the leader Gallagher (Charles Bickford). However, the plan fails, ending in a bloodshed.

Sixty years after the original release date, "Brute Force" is still a great movie of prison. The story is very well constructed, with flashbacks showing the connection of three inmates with his women. The violence is not explicitly disclosed like in the present days, but the cruelty of Captain Munsey can be understood even by the most naive viewer. The direction of Jules Dassin is outstanding with many memorable scenes. Yvonne De Carlo has a minor participation, but a strong role. The moralist message in the end, when Dr. Walters (Alt Smith) tells that nobody can escape from penitentiaries, does not spoil this great movie. My vote is eight.

Title (Brazil): "Brutalidade" ("Brutality")

One of the best prison movies ever made.Jules Dassin's direction is so strong ,so precise,so mind-boggling it packs a real wallop.Hume Cronyn gives a subdued but extremely scary portrayal of a sadistic brute.Always in a suave voice,always saying "I want to help you",there's only one way for him:the hard one.Burt Lancaster is equally efficient as a tough inmate .But the whole cast cannot be too highly praised.

The cast and credits read :"the women from outside" .There are four flashbacks which really fit into the movie.All of them last barely two or three minutes but they could provide material for four other movies. The first one (Flossie's ) verges on farce ,it is the comic relief of a desperate movie and we need it!Then the "fur coat" segment which is some kind of Cinderella turned film noir.The third one,perhaps the less interesting (everything is relative!), features Yvonne De Carlo as an Italian girl during the war the former soldier was in love with .And finally Burt Lancaster's story, he tries to find money to pay his girlfriend's operation.

These flashbacks are not gratuitous:all that is left to those men is memories .Besides,the last line tells us something like that:"nobody will escape!nobody!" More than ten years before ,Dassin had shown what French director Jacques Becker would do in his famous prison movie "le trou" (1960) : the prison as a metaphor of the human condition.

There are lots of scenes which will leave you on the edge of your seat.My favorite scene: the informer's death while Lancaster is securing his alibi with the doc.But the final is awesome too,something apocalyptic.

For the era it was made(late 1940's),BRUTE FORCE is surprisingly brutal and vicious in places,pre-dating similar antics from James Cagney two years later in WHITE HEAT. The majority of Hollywood prison movies seem to have riots in them and this is no exception,but BRUTE FORCE has arguably the most explosive of the lot,with tear gas,shootings,and killings galore. Mind you,with a warder as brutal as Hume Cronyn(who sadly died recently)in charge,it's no wonder.His psychological bulling of mild-mannered inmate Whit Bissell leads to the former's suicide,and savage beating of Sam Levene results in near death. The misery,waste,and isolation of prison life is well observed here,with fine performances all round,but especially from Cronyn and Jeff Corey,as a cringing,cowardly informer,both of whom incur the rage of the intense Burt Lancaster.

Though I'd only previously watched this movie once almost 25 years ago on a long-defunct Sicilian TV channel called Antenna 10, some scenes have stuck with me to this day and being able to reacquaint myself with the film was a long-cherished prospect which, thanks to Criterion, I now have.

The film is the epitome of the great, hard-hitting prison dramas of the 1930s, but the style in which it was filmed also makes it fall in the "Film Noir" category. This was only Burt Lancaster's second movie but he is already a tough, powerful screen presence and his character is one of the most respected within the prison community. The casting (in characterizations which would be much imitated in subsequent prison films) is perfection: pint-sized Hume Cronyn is very effectively cast against type as the quintessential brutal prison captain of the guards, Charles Bickford is the bigwig inmate who gets things done, Sam Levene is his reporter sidekick. Lancaster's gang includes Howard Duff (making his film debut), Jeff Corey (as a surprising 'rat'), suave ladies' man John Hoyt and Whit Bissell as the most vulnerable and least likely inmate who falls victim to Cronyn's "brute force". There's also Jay C. Flippen as an easy-going prison guard, Sir Lancelot as a happy-go-lucky jack-of-all-trades whose songs often sarcastically comment on the action, Vince Barnett as an old-timer who brings food (and messages) to the most dangerous inmates currently serving in the drainpipes, and an uncredited Charles McGraw as an arms dealer. Actually, one of the best roles in the film – the alcoholic, philosophizing prison doctor who is the only one genuinely interested in the fate of his "patients" – is splendidly portrayed by an actor who was unknown to me, Art Smith, and his confrontations with Cronyn offer some of the film's quiet highlights.

While the film itself offers relatively little new in terms of plot – a few of the prisoners are planning a breakout, the sadistic and power-hungry captain is more evil than the inmates themselves, an informer is punished during a staged scuffle, a traitor is present within Lancaster's gang, the climactic escape is a botched massacre, etc – and some of the plot points rather contrived – Sam Levene being sent to the drainpipes, which results in his being tortured by Cronyn – but Dassin's assured handling still makes all of these situations work superbly well. Ironically, after a period directing mostly light fare, this was the start of a peerless run of five noir classics – culminating in his celebrated caper film, RIFIFI (1955), made while exiled in France. Curiously enough, another Hollywood exile would later on basically make the British equivalent of BRUTE FORCE – i.e. Joseph Losey's exceptional THE CRIMINAL (1960) – while the failed prison break (in similar circumstances) also brings to mind Jacques Becker's masterful swan song, LE TROU (1960).

Like THE KILLERS (1946) before it, this was a Mark Hellinger production (it features no less than four actors from that film) and so would be Dassin's follow-up – THE NAKED CITY (1948). Miklos Rozsa's music is very good and subtly underscores the action. Unfortunately, the four flashback sequences added to the film to show that the hardened criminals here are good-natured people at heart, are mostly redundant and basically only serve to provide some female interest to the story; still, they are brief enough not be detrimental to the film's overall uncompromising bleakness. Incidentally, while screenwriter Richard Brooks was involved in this capacity with several noirs – the others being THE KILLERS itself, CROSSFIRE (1947), KEY LARGO (1948) and MYSTERY STREET (1950; which I recently acquired via Warners' fourth "Film Noir Collection" but have yet to watch) – he never revisited the genre once he graduated to the director's chair (though some sources do list his Mexican Revolution-set CRISIS [1950] and the crusading newspaper story DEADLINE – U.S.A. [1952] under this flexible banner).