Der Unbeugsame

Truly a memorable movie, and more than just a documentary about southern road gangs. It's a study on the theme of the indomitability of the human spirit in the face of oppression. I was about to name this as Newman's finest performance until I thought of Eddy Felsen in "The Hustler" and Frank Galvin in "The Verdict"; it's impossible to choose among such a cornucopia of acting achievements, but Luke is right up there (the analogy to Luke as Christ becomes a tad heavy-handed when we see him, at the close of the egg-eating scene, stretched out, arms outward, feet crossed, as if crucified; none the less, it's a powerful image). There is no doubt, however, about George Kennedy as Dragline; it is his finest achievement, and fully deserves the Oscar he got for Best Supporting Actor. It is also fascinating to find so many familiar faces among the inmates - actors such as Dennis Hopper, Harry Dean Stanton, Joe Don Baker, Ralph Waite. and Wayne Rogers - who would go on to fame in their own right. This movie can unquestionably be called a classic. American Movie Classics just started (11/2000) showing a beautifully restored letterbox version which shows it in all its glory.

Amazing movie....watched it for the first time three or four years ago. Seen it plenty of times since......this, along with "One Flew over the Cuckoo's Nest", is one of my favorite films of all-time. Luke is a truly memorable character; funny, tragic, inspirational.....a lot like Randle Patrick McMurphy. Paul Newman once again proved the Academy to be full of idiots, giving a great performance deserving of an Oscar. How he only won once, when Sally Field is the owner of two statuettes, is inexplicable. His run of classic films and touchstone characters from the 60s-70s (Luke, Fast Eddie, Butch, etc) is unparalleled. George Kennedy was good, too......I mightn't be good at critiquing, but I know what I like. And I like this.

Now that it has become sort of fashionable to speak or write badly about the films of the 60s and 70s, saying that people stopped going to the movie theatres during that fruitful period (which is not true), we must -more than ever-rate a flick as "Cool Hand Luke" as it really deserves. The rebel spirit of the lead character (played to perfection by the excellent Paul Newman) against that brutal and -most of the times- unfair "establishment" represented by the prison guards is a subject that remains as topical as ever. If this picture had been made today, it could also probably be good, but it would undoubtedly be much more unpleasant and filled with four-letter words. Besides, who could match the performances of Newman, George Kennedy (the deservedly Oscar-winner who has kept on making a brilliant career -do you remember him as "The Blue Knight"?), Strother Martin, J.D.Cannon, etc.? Jo Van Fleet´s character as Luke´s mother seems a sort of slightly-aged version of her role as James Dean´s mum in "East Of Eden", and it is really worthwhile. The scene of the hard-boiled eggs is a classic and a gem, but my favourite scene in the movie is that of the car-washing girl so wonderfully played by Joy Harmon (who is really a Joy for any man´s eyes); that character truly says a lot of things without speaking -her gorgeous body speaks for her! I must say that it´s not only one of the sexiest scenes I´ve ever seen in a film but also a very significative one: there is an enormous contrast between the image of the lass moving and shaking in complete and absolute freedom (even in her way of dressing) and the imprisoned men-at-work who watch her as something extremely desirable but, alas, completely out of reach. (The viewer can really feel like a prisoner too!). All in all, this is a fine film of the 60s, but also of the 70s, the 80s, the 90s, the 21st century and whatever God wants it to come.

This film got me from the first frame to the last. It's not even because of the story (which I love, of course) - it's just so very well made. And so modern. The kind of angles and perspectives the camera uses, the way it zooms in and out or even allows itself (literally) to get dirty - the way this whole picture was shot is just something I haven't seen in an American film released prior to this one.

And yet, although it is considered a classic, when people talk about the "New Hollywood" somehow 'Cool Hand Luke' is hardly ever mentioned - despite the fact that it came out only a couple of months after 'Bonnie and Clyde' in 1967 and before 'The Graduate'.

I look at this film mainly as a character study but the story arc also works very well and it hasn't aged a bit. This is one of those rare films that was way ahead of its time and which has simply everything: great acting, iconic characters and scenes, wonderful music - and the cinematography is just unbelievable.

Funny, tragic and moving, 'Cool Hand Luke' is one hell of a film. What we've got here is NOT failure to communicate - but a 10 star masterpiece.

Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/

Lesser-known Masterpieces: http://www.imdb.com/list/ls070242495/

Favorite Low-Budget and B-Movies: http://www.imdb.com/list/ls054808375/

Favorite TV-Shows reviewed: http://www.imdb.com/list/ls075552387/

Greetings again from the darkness. I went way too many years without watching this movie again, so when Cinemark included it in the summer classic film series, I was in my seat nice and early. Mention this movie and the first thing people do is quote one of the most famous lines in movie history: "What we have here is failure to communicate." No question that's a great line. But there is so much more to this movie and it holds up beautifully 45 years later.

Based on the novel by Donn Pearce, who spent two years on a chain-gang, this is the story of Luke (Paul Newman) who just can't bring himself to conform to the rules, regardless whether those be the rules of the military, society, prison, or those self-imposed by the convicts. We are introduced to Luke as he drunkenly cuts off the top of parking meters on main street of a small town. Later, in a throw away line, we learn he was gaining revenge on someone. It's the clear indication that while he doesn't always want to fit in, Luke clearly knows right from wrong.

There are so many terrific scenes in this film, that it's not possible to discuss each. Every scene with the prison warden, played by Strother Martin, is intense. Each of the Boss guards are frightening, especially Morgan Woodward as the sharpshooter behind the mirrored shades. There are numerous impactful scenes featuring the group of convicts. Even though we learn little about the individuals, we realize the fragile male psyche is on full display. Despite the power of all of these characters and scenes, the real strength of the film is the relationship between Luke and Dragline (George Kennedy). Watching the early cat and mouse game, and the subsequent transfer of power, feature two amazing actors at the top of their game.

George Kennedy rightfully won the Best Supporting Actor award and continued on to become one of the most successful and prolific character actors of the 70's and 80's, and his career culminated with his iconic role in the Naked Gun series. As for Paul Newman, this is one of his best performance in a long line of standout performances. This one is in the middle stage of his career and he exuded manliness with a touch of sensitivity. He and Strother Martin would meet again in one of the best sequences of Butch Cassidy and the Sundance Kid.

Watching Luke win over all the convicts, including the previous leader played by Kennedy is stunning, yet gut-wrenching when offset by the scenes with the guards who are hell bent on getting Luke to understand his place. They understand the risk he poses to the systematic rhythms of the prison.

The supporting cast is downright incredible. This was the feature film debut for: Ralph Waite (4 years later he became the beloved paternal figure of TV's The Waltons); Joe Don Baker(Buford Pusser from Walking Tall); James Gammon (later the crusty manager in Major League); and Anthony Zerbe, another iconic character actor of the 70's and 80's. Also featured are Dennis Hopper, Harry Dean Stanton (singing a few songs), Wayne Rogers (from MASH), Richard Davalos (James Dean's brother Aron in East of Eden), and Rance Howard (Ron's dad as the sheriff). In a brief, but truly great scene, Jo Van Fleet (also from East of Eden), appears as Arletta, and we quickly understand Luke's background.

Often overlooked by film historians, "Lucille" putting on a show for the convicts as she washes her car, is a scene that is meant for more than titillation. As she creatively buffs the windows, the reaction of the convicts reminds us that these are still men and no amount of humiliation and degradation can change that. One of my friends argues that Joy Harmon was clearly cheated out of an Oscar for this scene.

The score is the handy work of Lalo Schifrin and expertly captures the moment ... especially in the black top scene. Director Stuart Rosenberg was known only for his TV work when he got this script. He went on to direct another prison movie in 1980 called Brubaker. Starring Newman's Butch Cassidy co-star Robert Redford, the film was a decent prison drama, but not at the level of Cool Hand Luke ... which by the way, was installed into the National Film Registry in 2005.