The Last Mile

The Last Mile was a popular play of the early depression years that had starred Spencer Tracy on Broadway in the principal role of Killer Mears. His performance there, brought him rave critical notice and a Hollywood contract with Fox Films. Also Clark Gable portrayed the same role in a West Coast production and his performance there got him noticed by MGM who signed Gable and launched that career.

Interesting that two of Hollywood's major stars from the studio era both owed their careers to this play. But The Last Mile didn't come to the screen from a major studio. It was a small independent B film and the biggest name they could get was Preston Foster. Not that Foster was bad, but I really would have loved to see either Gable or Tracy tackle this part for the screen.

Nevertheless Foster does a capable job. During the 30s he was in some top drawer films. Besides this Foster is probably best known for his role in The Informer as the IRA captain who hunts, tries, and then orders the execution of Victor McLaglen. He drifted downward into B films in the 40s and later on gave good performances in supporting parts. His best later career film was Kansas City Confidential, supporting John Payne.

Although its dated and overacted in spots, The Last Mile is still good entertainment and a must see for those who are opposed to capital punishment. Some of the stereotypes of the prisoners on death row are still in use today, most notably in The Green Mile.

But to have only seen Tracy or Gable do it.

Kindly, sympathetic, upstanding convicts who are on Death Row for no good reason that we ever learn (except that we know Dick Walters has been wrongfully convicted)are put to death by prison guards who vary from indifferent to mean, while the Warden agonizes over what good capital punishment does and the meaning of it all -- until an attempted prison break turns him into the most bloodthirsty of all.

The one-set stage play is opened up a little bit by scenes showing the crime for which Walters has been convicted and the discovery of the criminals who really committed the crime. Good performances are turned in by Preston Forster as Killer Mears, the one prisoner who shows a mean streak that may have landed him on Death Row; and by Daniel L. Haynes, who had starred in Hallelujah three years earlier, as the token black singing prisoner.

Anti-death penalties dramas haven't become more balanced or less simplistic; if anything, the thumb on the scale is even heavier in The Green Mile's recounting of the execution of angelic Michael Clarke Duncan. But today more realistic depictions of prison life and prisoners abound in cable television documentaries, and the misplaced sentimentality of The Last Mile toward its misunderstood convicts isn't easily swallowed. It does, however, have Killer Mears' bravado line at the end of the prison break: "I think I'll go get a little air."

"The Last Mile" is an interesting melodrama set on death row. While it is not entirely credible, and is often heavy-handed, the characters are memorable, and there is a lot of tense action.

The story begins with Richard Walters (Howard Phillips) being condemned to death for a murder that he claims not to have committed. He is sent to death row, and not long after he gets acquainted with the other inmates, a riot breaks out, led by the brutal killer Mears. Walters gets enmeshed in violent events even as his friends on the outside are frantically trying to gather evidence of his innocence. Most of the developments lack believability, and are rather obviously forced, but the story is undeniably dramatic. Once involved, you will have to watch it to the end.

While imperfect and low-budget, this is an interesting film that will keep your attention if you start to watch it.

Prison films have been a staple of film since the early years. "Up the River" (1930) with Hmphrey Bogart and Spencer Tracy and "Manslaughter" (1930) with Frederich March and Claudette Colbert were some early ones. "The Big House" (1930) was the first of the prison films to capture an audience, and as such, it is the archetype for almost every prison movie to follow, apart from the "chain gang" films that have their origins in Paul Muni's excellent 1932 "I am a Fugitive from a Chain Gang." The Big House was so popular that Laurel and Hardy produced a spoof called "Pardon Us" in 1931. It was their first feature film. That same year "The Criminal Code" (1931) with Walter Huston and Boris Karloff came out.

Interest in prison spawned the Broadway play "The Last Mile" from which this film came. The play launched the careers of Spencer Tracy and Clark Gable. The same year this film came out we also had "20,000 years in Sing Sing" (1932)

Other prisons films from the 1930s include "I am a Fugitive from a Chain Gang" (1932), "The Mayor of Hell" (1933), "Prisoner of Shark Island" (1936), "San Quentin" (1937), "Devil's Island" (1939) and " Each Dawn I Die" (1939).

Among all the films of this genre, "The Last Mile" has the least production values, probably due to its origins as a play. It also has the least star power, with Preston Foster (1900-70) playing the lead role as the psychopathic killed. This was Foster's first big break and only his fifth film. I remember him best from the TV series "Waterfront" (1954-5) and "Northwest Mounted Police" (1940).

Also present is Paul Fix (1901-83) who is best remembered as the Marshall from "The Rifleman" (1958-63) and who was one of the busiest actors on TV.

The director is Sam Bischoff (1890-1975) who got his start working in the "Poverty Row" studios. He moved to Warners where he specialized in crime films ("The Roaring Twenties", "The Phenix City Story", "Angels with Dirty Faces").

The film is preachy and heavy handed. It reflects some negative attitudes about capital punishment, caused by an increase in capital punishment beginning in the 1920s where criminality was considered genetic and the eugenics movement was strong. In the 1930s capital punishment reached its peak, averaging 167 per year, and the methods included electricity and gas.

It's hard to recommend the film. "The Big House" is far superior.

Even though this was made early on and attempts to be an indictment of capital punishment, it is not very effective. To start with, each of the death row inmates is sympathetic. Now, that's OK for a time, but if we never get to know much about them and their psyches, it just doesn't work. Of course, we have our hero who is unjustly convicted and within minutes of his execution when a jailbreak begins. The whole thing is talky until the explosion. There are some really brutal, merciless killings when the prisoners are in control. It just shows we all want to live. The guards are really the bad guys here because they lord it over the poor inmates. Their crimes really aren't revealed. They are a contrast to Tom Hanks in "The Green Mile" where one can be a horror on earth, but, after all, you are facing the final curtain. Anyway, this just doesn't work. It's stagy and simplistic.