Zelle R 17

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).

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.

Burt Lancaster and cellmates plot a daring breakout. Okay, sounds like a thousand other prison movies, but what makes this the top of the prison genre are the elements. Watching the characters in this gem is like staring down a cobra- they're so fascinating. There are the unique cellmates: meak accountant Whit Bissell driven over the edge, a learned, elder prisoner (Charles Bickford) the tough Burt Lancaster, etc. etc. Most memorable is Hume Cronyn (his greatest film performance) as the soft spoken, neat-nick psychotic Captain Munsey, a prison official who takes so much delight in beating prisoners, he plays his favorite music and strips to his t-shirt during beatings! Grand screenwriting by future director Richard Brooks. Cellmates have only one wall decoration, a picture of a glamour girl. She reminds each cellmate of a different woman who caused them to do time. The dialog crackles loudly: (Sample- Bickford to Lancaster about a cellmate plotting a break: "He said next Tuesday is the day of the break. He's been saying that about every Tuesday for the last twelve years. Twelve years from now, he'll be saying the same thing....") Hey Universal, put this wonderful classic on VHS!

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.

This is Westgate Penitentiary, the Warden is a weak man, the prison is practically run by the cruel and highly ambitious Captain Munsey. But the prisoners are no walk overs, they deal their own justice to those that don't tow the line, tired and fed up of mistreatment, and fuelled by the Munsey influenced suicide of a popular inmate, the prisoners, led by big Joe Collins, plot a break out, the fear of failure not even an option.

Brute Force is a cracking moody picture directed with innovation by Jules Dassin and starring Burt Lancaster (brilliant as Joe Collins), Hume Cronyn (Munsey), Charles Bickford (Gallagher) and lady support (shown in excellent flashbacks) from Yvonne De Carlo, Ann Blyth, Ella Raines and Anita Colby. We open in the pouring rain at the monolithic gates of Westgate Penitentiary, Dassin's camera looking up at the gate like some foreboding warning, William Daniels black and white photography is stark and making its point, all this as Miklos Rozsa's score thunders in our ears, it's clear that this is going to be a mean and moody prison picture.

So it proves to be, sure all the formula traits that lace most prison films are in here, but Dassin and his team have managed to harness an oppressive feel to put us the viewer within the walls of Westgate as well. This is a bleak place, there are six men to a prison cell, their only chance of staying sane is memories of loved ones and a unified spirit to not be put upon by the vile Munsey, we are privy to everything, we ourselves are part of the furniture. Brute Force thankfully doesn't disappoint with its ending, the tension has been built up perfectly, the mood is set, so when the ending comes it's explosive and a truly fitting finale to what has been a first rate prison drama. 9/10