Les révoltés de la cellule 11

The occupants of Cell Block 11 take guards as prisoners to protest at the brutal conditions in their prison. The problems are many, be it overcrowding, awful food, the mixing of psychopaths with safe category prisoners, or the treatment dished out by sadistic guards. The inmates have had enough. So led by James V. Dunn (Neville Brand), the cons draw up a list of changes they want to see enforced, changes that liberal minded Warden Reynolds (Emile Meyer) actually concurs with. But as the clock ticks down the cons are beset with in fighting, while on the outside the press and politics start to take a hold.

Tho what is known as a "B" movie, and with a budget to match such a programmer, Riot In Cell Block 11 remains today one of the finest entries in the incarceration based genre of film. As relevant today as it was back then, the film has much grit and realism coursing thru its veins. Directed by Don Siegel (Dirty Harry/Escape From Alcatraz), it's written by Richard Collins (uncredited on Invasion Of The Body Snatchers), but it's with producer Walter Wanger that the core of the piece belongs. In 1951 Wanger was convicted of the attempted murder of Jennings Lang. Lang was having an affair with Wanger's wife, and when Wanger caught them in the act, he shot Lang in the groin. Wanger, after copping a plea of temporary insanity, served four months in San Quentin Prison, where his experiences there provided the genesis for Riot in Cell Block 11.

Shot in a semi-documentary style on location at California's Folsom Prison, Siegel and Wanger used actual inmates and guards to authenticate their movie. This was made possible by a certain Sam Peckinpah, who here was doing his first film work as a third assistant director. Legend has it that the Warden of Folsom knew "Bloody Sam's" family and thus allowed the makers into the prison to film. The film also benefits by not having big name stars filling out the cast, Brand & Meyer are joined by Frank Faylen, Leo Gordon, Robert Osterloh, Paul Frees & Whit Bissell. Solid performers to a man, but no headliners, and this helps, as they mix with the real crims and coppers, the realistic feel the makers created.

Siegel's movie isn't looking for simple answers to a persistent problem, it could have easily just gone for a death or glory violent piece of entertainment. But instead it's laced with intelligence and never sinks to preaching, in fact its finale is a rather sombre footnote to the whole episode. The characters are excellently drawn too, and it's good to see that Collins and co don't just make this a cons against authority piece, they clash with each other. Thus hitting home that not all the cons are singing off of the same page. As Warden Reynolds tells when asked about riot leader Dunn, "he's a psychopath, but he's an intelligent psychopath - just like many others on the outside" it's a telling piece of writing. As is the fact that there's no soft soaping either, there's no redemptive love interests or old sage lags to talk common sense into the ring leaders, it's tough uncompromising stuff.

And while we are noting the need for reform, feeling a bond with the prisoners complaints, we are then jolted to not forget that evil men do still reside here. Evil that is perfectly essayed by an excellent Leo Gordon (a real life San Quentin resident) as Crazy Mike Carnie. Watch out for one scene involving a call to a guards wife, the impact is like taking a blow from a claw hammer. You will understand why Siegel said Gordon was the scariest man he ever met.

A top draw movie that doesn't take sides, it has both sides of the fence firmly in its sights. With us the public observing from the middle. 10/10

"Riot in Cell Block 11" is a very good, very tough prison movie. However, I should also warn you that it's also got a very strong and not especially subtle message...and could have been handled a bit less obviously. The producer had an axe to grind...and it's too obvious. On the other hand, it is a nice contrast to the usual evil jerks in prison film.

When the film begins, there is a preachy prologue about prison riots and how they are the fault of the politicians and the people for allowing prisons to become that rotten. While to some extent this is true, the message come on about as subtly at a baseball bat against your skull. Then the film begins, a fictionalized account of prisoners rioting at a prison and the ineffectiveness and duplicitous nature of public officials in dealing with it. Again and again, the Warden advises for restraint and seems very much in agreement with most of the prisoners' demands...and time and again, the powers that be think the best way to handle the prisoners is to bluster and lie.

So if the film comes off as a bit preachy, why do I still give it a 7 (and I was tempted to give it an 8)? Well, the acting is really terrific. Neville Brand is great as the prisoner in charge of the rioters and the rest of the actors did a really nice job. Had the message been toned down a tad, the film might have earned a 9.

Here is a jail flick made in sympathy to the prisoners, not that this was so rare before criminals became much more violent in the 1960's. Fed up with the inhumane conditions within the penal system, the inmates rebel. A guard is knocked out and locked up, his keys used to free the other prisoners, and the jail is overtaken in short order. The scene where the prisoners yell and empty the contents of their cells everywhere makes for powerful cinematography.

The prisoners make their demands known, and they want them printed in the papers for all the public to see. They want to be involved in a work program instead of sitting idle; they want the jail to be less crowded and better organized. If their needs are not met, guards will be killed, and the blame will be placed on the penal system authorities. The liberal warden of the prison actually wants to grant their demands, but his budget is constrained by politicians far removed from the system, and thus he is helpless as the clock ticks down.

The film is non-stop excitement and drama. I liked seeing the relationship between the prisoners, and their roles in the revolt. Neville Brand, with a gravelly voice and a build like a Sherman tank, is perfectly cast as the group leader and negotiator.

The movie is based on a story of an actual prison riot in the 1950s, and producer Walter Wanger's experiences as an inmate. Isn't it odd that celebrities get religion on the issue of prison reform AFTER they have been behind bars? Dan Rostenkowski comes to mind too.

Several prison inmates, to protest brutal guards, substandard food, overcrowding and barely livable conditions, stage an uprising, in which most of the inmates join, and take several guards hostage. Negotiations between the inmates and prison officials are stymied, however, by politicians interfering with the prison administration, and by dissension and infighting in the inmates' own ranks.

The producer Walter Wanger (known for Ford's "Stagecoach" and Hitchcock's "Foreign Correspondent") had recently been in prison for shooting his wife's lover, and his experience there motivated this production. The film was shot on location at Folsom State Prison with real inmates and guards playing background roles.

"Riot in Cell Block 11" was the first film work for Sam Peckinpah, who was hired as a third assistant casting director by Don Siegel. Wanger and Siegel would team up again two years later for "Invasion of the Body Snatchers".

The Criterion release is a must-have, with plenty of background information on those involved, the inspiration, related writings and an excellent audio commentary from a noted film historian.

Gritty, realistic, semi-documentary style, early film from Don Siegel - two years before 'Invasion of the Body Snatchers'. Essentially a social comment film about the poor conditions in prisons, 'Riot in Cell Block 11' doesn't force its point with cliches and manages to be an effective 'B' Movie.

The storyline starts quickly with a group of prisoners taking their warders hostage and barricading themselves in their cell block. Narrative then follows the proceedings to their conclusion, the action never straying from the prison itself.

Film succeeds mainly as a result of not having any forced characters - none of the prisoners are particularly likable and there are none of the usual dumb characterisations usually found in prison movies. The various authority figures deal with the situation they are presented with in a matter of fact way, and the films stark style remains through to the end.

As I was watching 'Riot in Cell Block 11' I was dreading some wise old sage prisoner coming out of the woodwork, due for parole the following week, who was somehow going to contrive to get himself shot just as the riot was coming to a close, to enjoy a lengthy death scene in someone's arms. Thank goodness nothing like this occurs.

Film made me think of 'Killer's Kiss', in that they are both 1950's low-budget movies with great potential, from a soon-to-be famous director. 'Riot in Cell Block 11' succeeds in all areas, and while its targets may be low it certainly deserves more recognition.