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The Last Mile

  • 1932
  • Approved
  • 1h 15min
CALIFICACIÓN DE IMDb
6.2/10
447
TU CALIFICACIÓN
Louise Carter, Preston Foster, Howard Phillips, and George E. Stone in The Last Mile (1932)
AcciónCrimenDramaRomance

Agrega una trama en tu idiomaAn innocent man sentenced to death gets caught up in a prison riot.An innocent man sentenced to death gets caught up in a prison riot.An innocent man sentenced to death gets caught up in a prison riot.

  • Dirección
    • Samuel Bischoff
  • Guionistas
    • John Wexley
    • Seton I. Miller
  • Elenco
    • Howard Phillips
    • Preston Foster
    • George E. Stone
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.2/10
    447
    TU CALIFICACIÓN
    • Dirección
      • Samuel Bischoff
    • Guionistas
      • John Wexley
      • Seton I. Miller
    • Elenco
      • Howard Phillips
      • Preston Foster
      • George E. Stone
    • 23Opiniones de los usuarios
    • 6Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos17

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    Elenco principal23

    Editar
    Howard Phillips
    Howard Phillips
    • Richard Walters
    Preston Foster
    Preston Foster
    • John 'Killer' Mears - Cell 4
    • (as Preston S. Foster)
    George E. Stone
    George E. Stone
    • Berg - Cell 1
    Noel Madison
    Noel Madison
    • D'Amoro - Cell 6
    Alan Roscoe
    Alan Roscoe
    • Kirby - Cell 7
    Paul Fix
    Paul Fix
    • Werner - Cell 8
    Al Hill
    Al Hill
    • Mayer - Cell 3
    Daniel L. Haynes
    Daniel L. Haynes
    • Jackson - Cell 2
    Edward Van Sloan
    Edward Van Sloan
    • Rabbi
    Louise Carter
    Louise Carter
    • Mrs. Walters
    Ralph Theodore
    • Pat Callahan - Principal Keeper
    Jack Kennedy
    • O'Flaherty
    Albert J. Smith
    Albert J. Smith
    • Drake
    William Scott
    William Scott
    • Peddie
    Kenneth MacDonald
    Kenneth MacDonald
    • Harris
    Walter Walker
    • Governor Blaine
    Alec B. Francis
    Alec B. Francis
    • Father O'Connor
    • (sin créditos)
    Gladden James
    Gladden James
    • Warden's Secretary
    • (sin créditos)
    • Dirección
      • Samuel Bischoff
    • Guionistas
      • John Wexley
      • Seton I. Miller
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios23

    6.2447
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    Opiniones destacadas

    gimhoff

    Sentimental about killers

    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."
    5mstomaso

    Somewhat Predictable Death Row Drama

    The Last Mile, based on a popular John Wexley play of its time (1932), features an ensemble of death row inmates. Though the film does a good deal of effective characterization, we only really get to know two of the condemned - the innocent Dick Walters (Howard Phillips) and the "Killer" Mears (Preston Foster) - his neighbor in the cell block. The rest of the characters are archetypes of one kind or another, allowing the somewhat heavy-handed theatrical script some needed economy as the film builds quite slowly to a strong climax.

    Mears stages a breakout and Walters has no choice but to get caught up in it, along with all of the other inmates. The warden, who has generally been, according to the prisoners, a decent guy, doesn't see that he has any choice about how to handle the situation.

    The film is oddly introduced by a written introduction that makes a case against the death penalty based, apparently, on religious morality. With the exception of the juxtaposition of Killer Mears and our innocent protagonist Mr. Walters, it is not at all clear how this bit of moralism enhances the film nor how the film supports the political viewpoint of its author.

    Theatrical scripts and sets do not always translate perfectly into film. The 1932 film of this play exemplifies the problem. Most of the camera work sticks to the point of view of a play's audience and the film mostly occurs in a very stark, statically shot prison block set. This effectively places the audience in the monotony of the prison experience throughout the film's action-less first half, but the effect only serves to accentuate the story's limitations so that, by the time the plot begins to accelerate, at least some of the audience has made up its mind about what will happen, how, and why. It is, however, worth sticking around to see how it does or doesn't play out.
    7winstonengle

    Hang In There for the Good Stuff

    The first half of the film is slow, talky, and one-act-play-ish. The only good part-- and pretty much the film's only real attempt to build character --is Daniel L. Haynes' fine performance as Number Two. He also has the best line, where with a smiling but sardonic edge, he doubts he'll meet his death-house fellows on the other side, because white people probably won't let a black man share Hell with them.

    The movie finally picks up at the midpoint as it suddenly becomes more of a thriller, and the tension ratchets up and up for the remainder of the film's brief runtime. So don't let the Generic Serious Depression-Era Play feel of the first half put you off, because it transforms into a much more rewarding experience.
    Snow Leopard

    An Interesting Melodrama

    "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.
    4drjgardner

    Not much to see here

    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.

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    Argumento

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    • Trivia
      The Broadway play of the same name upon which this film is based opened at the Sam H. Harris Theatre, 226 W. 42nd St. on February 13, 1930 and ran for 289 performances until October. Spencer Tracy played the lead role of John Mears. Clark Gable also played the role in later productions. Both actors were brought to the attention of Hollywood because of their involvement with this play.
    • Errores
      As Joe Berg is saying goodbye to "Killer" Mears, a moving shadow of the boom microphone is visible on the wall of Mears' cell.
    • Citas

      John 'Killer' Mears, Cell 4: [at the end of the prison break, walking into the guards' machine guns] I think I'll go get a little air.

    • Conexiones
      Featured in Rush: A Show of Hands (1989)
    • Bandas sonoras
      Ave Maria
      (uncredited)

      Music by Franz Schubert

      played under Warden's foreword

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    Detalles

    Editar
    • Fecha de lanzamiento
      • 17 de agosto de 1932 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • Numbers in Hell
    • Locaciones de filmación
      • California Tiffany Studios - 4516 Sunset Blvd., Hollywood, Los Ángeles, California, Estados Unidos(Studio)
    • Productora
      • K.B.S. Productions Inc.
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 15 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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    Louise Carter, Preston Foster, Howard Phillips, and George E. Stone in The Last Mile (1932)
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