Ajouter une intrigue dans votre langueYoung, naive Smitty is sent to prison for six months and bunks with other convicts, specifically quiet cocky bully Rocky. Eventually Rocky offers protection to Smitty for a price and Smitty ... Tout lireYoung, naive Smitty is sent to prison for six months and bunks with other convicts, specifically quiet cocky bully Rocky. Eventually Rocky offers protection to Smitty for a price and Smitty becomes a most reluctant sexual slave.Young, naive Smitty is sent to prison for six months and bunks with other convicts, specifically quiet cocky bully Rocky. Eventually Rocky offers protection to Smitty for a price and Smitty becomes a most reluctant sexual slave.
- Réalisation
- Scénario
- Casting principal
Lee Broker
- Screwdriver
- (as Larry Perkins)
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Fortune And Men's Eyes is another one of those works that could never have been filmed until after the Stonewall Rebellion and certainly not while the Code was in place in Hollywood. Now the fact of homosexuality in prison is simply a given, but when you think of all the great prison films in the classic Hollywood studio age like The Big House, Each Dawn I Die, or Brute Force, you'd think these men had simply turned off the sexual energy once incarcerated. If there is homosexuality it is very subtly implied.
This is more than implied it's the result of incarcerated people having no other outlet. Seems perfectly reasonable now, but back in the day, a most taboo subject.
The original play was done within the confines of a single cell that housed four different prisoners and it's their story being told. Zooey Hall rules the cell and he's got his eyes on new inmate Wendell Burton just arrived. Also in the cell are Danny Freedman who is a weak kid without anyone to protect him. As a result he's victimized by everyone and that includes the guards. Presiding over it all is Queenie, a most flamboyant gay man who's discovered that prison could be an interesting place to be if sex is used properly and withheld occasionally. Michael Greer is Queenie and Greer originated the role off Broadway.
Incarcerated people don't cease being sexual beings even when they're incarcerated is the simple message of Fortune In Men's Eyes. Of course it took gays and lesbians coming out of the closet to get that message out to the general public. It's the reasons why some states and prisons have adopted a policy of conjugal visits. If not to cease the practice of rape in prison, at least to lessen it.
This is not limited to men. Although there is certainly implied lesbianism in the MGM classic Caged about a woman's prison, can you imagine how explicit a modern remake would be? In fact I'm surprised that film hasn't been remade.
Fortune And Men's Eyes is still a film with quite a revealing message that will sear your soul. Watch it, but not if you're squeamish.
This is more than implied it's the result of incarcerated people having no other outlet. Seems perfectly reasonable now, but back in the day, a most taboo subject.
The original play was done within the confines of a single cell that housed four different prisoners and it's their story being told. Zooey Hall rules the cell and he's got his eyes on new inmate Wendell Burton just arrived. Also in the cell are Danny Freedman who is a weak kid without anyone to protect him. As a result he's victimized by everyone and that includes the guards. Presiding over it all is Queenie, a most flamboyant gay man who's discovered that prison could be an interesting place to be if sex is used properly and withheld occasionally. Michael Greer is Queenie and Greer originated the role off Broadway.
Incarcerated people don't cease being sexual beings even when they're incarcerated is the simple message of Fortune In Men's Eyes. Of course it took gays and lesbians coming out of the closet to get that message out to the general public. It's the reasons why some states and prisons have adopted a policy of conjugal visits. If not to cease the practice of rape in prison, at least to lessen it.
This is not limited to men. Although there is certainly implied lesbianism in the MGM classic Caged about a woman's prison, can you imagine how explicit a modern remake would be? In fact I'm surprised that film hasn't been remade.
Fortune And Men's Eyes is still a film with quite a revealing message that will sear your soul. Watch it, but not if you're squeamish.
It was a good thing they had a cast-audience group discussion following off-Broadway weekend performances of "Fortune and Men's Eyes."
That way whatever questions may have been on attendees' minds could be fielded directly to cast members and director, which were seated across the proscenium.
After the performance I had the pleasure of attending, I was struck by the candor of that production's "working family." Somehow, the intimate nature of the play appeared to make for great cast cohesiveness, and the discussion was lively and informative. It also provided greater clarity as to what both Playwright John Herbert had in mind and what the director was trying to express.
Unfortunately, in the film version (scripted by the playwright) there was something missing. Despite a fine cast delivering thoroughly thoughtful performances, an unrelenting downbeat pall seems to hover over everything.
It's been reported that the film's producers wanted the sensational qualities emphasized; they got their wish--probably at the expense of a broader, more poetic and philosophical statement of the human condition.
Michael Greer offered an outstanding Queenie, a character that is quite convincing. However, it's a bitter, sardonic soul whose surface sense of humor's only a cover for a wounded interior.
Zooey Hall's Rocky is likewise expertly rendered and completely believable--yet a crafty and cold individual with few redeeming qualities.
Wendell Burton's Smitty is the most empathetic character, yet a "pothead" and "looser"--not at all the "innocent" he purports to be.
Harvey Hart's & Jules Schwerin's codirection is adequate, given their parameters. Yet the entire production fails to rise much above the norm, despite many powerful and effective expose scenes.
It's interesting to note the careers of the above three lead actors: Burton had the most work, yet roles were few and far between, and he retired from acting at the early age of 40. Hall, despite his good looks and fine talent, only did three more films after this. Greer likewise had a very limited film career (his Queenie role perhaps seriously type casting him).
Though I never saw Sal Mineo's stage production, I heard that it was even more controversial and sensational than either of the above two versions.
And that's going some.
That way whatever questions may have been on attendees' minds could be fielded directly to cast members and director, which were seated across the proscenium.
After the performance I had the pleasure of attending, I was struck by the candor of that production's "working family." Somehow, the intimate nature of the play appeared to make for great cast cohesiveness, and the discussion was lively and informative. It also provided greater clarity as to what both Playwright John Herbert had in mind and what the director was trying to express.
Unfortunately, in the film version (scripted by the playwright) there was something missing. Despite a fine cast delivering thoroughly thoughtful performances, an unrelenting downbeat pall seems to hover over everything.
It's been reported that the film's producers wanted the sensational qualities emphasized; they got their wish--probably at the expense of a broader, more poetic and philosophical statement of the human condition.
Michael Greer offered an outstanding Queenie, a character that is quite convincing. However, it's a bitter, sardonic soul whose surface sense of humor's only a cover for a wounded interior.
Zooey Hall's Rocky is likewise expertly rendered and completely believable--yet a crafty and cold individual with few redeeming qualities.
Wendell Burton's Smitty is the most empathetic character, yet a "pothead" and "looser"--not at all the "innocent" he purports to be.
Harvey Hart's & Jules Schwerin's codirection is adequate, given their parameters. Yet the entire production fails to rise much above the norm, despite many powerful and effective expose scenes.
It's interesting to note the careers of the above three lead actors: Burton had the most work, yet roles were few and far between, and he retired from acting at the early age of 40. Hall, despite his good looks and fine talent, only did three more films after this. Greer likewise had a very limited film career (his Queenie role perhaps seriously type casting him).
Though I never saw Sal Mineo's stage production, I heard that it was even more controversial and sensational than either of the above two versions.
And that's going some.
'Fortune and Men's Eyes' is a film which I recommend as interesting viewing for anyone who wishes to watch an early story of important gay cinema.
It's author, the late playwright Jonhn Herbert, is an icon of gay writing.
This is a story based on John Herbert's own unfortunate true experience as an inmate as a teenager in a penal institution in Canada, wrongly imprisoned after being the victim of gay bashing. It is a play that later became a film.
I recommend that you watch this film despite the fact that it is old, to say the least.
It's author, the late playwright Jonhn Herbert, is an icon of gay writing.
This is a story based on John Herbert's own unfortunate true experience as an inmate as a teenager in a penal institution in Canada, wrongly imprisoned after being the victim of gay bashing. It is a play that later became a film.
I recommend that you watch this film despite the fact that it is old, to say the least.
Smitty (Burton) goes to prison and realize that it place where inmates set each other up, and also a place where there is no women, so a weak prisoners are forced to be sex slaves for tougher prisoners. He shares a cell with a drag queen name Queenie (Greer) and a tough Christian Slater type name Rocky (Hall). Smitty becomes friends with Rocky, not knowing that Rocky wants Smitty to be his lover. Crisp dialogue, well edited scenes, make this film very shocking for 1971. Hall is a standout as Rocky and gives a very icey performance that makes me wonder why he didn't become a big star playing villians in films (only other big work he did was 99 44/100% DEAD in 1974). Burton and Greer is also good, as Burton does a fine job projecting a innocent kid who keep looking at his picture of his girlfriend, knowing life isn't going to be same. Canadian actor Danny Freedman is also effective at the end scene that is another shocker. Don't see this film if you are offended or scared of the subject. But I think it's one of the best film of the 70's. Highly Recommended.
I saw some friends talking about this film on the internet, and decided to see if I could find it anywhere. It's not available at all on DVD, but my state library system does have it on VHS tape. I have no VHS tape player, as I got rid of it years ago. BUT, someone mentioned that it's available online. free.. The resolution isn't very good, but it's watchable!
Le saviez-vous
- AnecdotesSal Mineo directed the 1969 Los Angeles production "Fortune and Men's Eyes and played the role of Rocky, a prison bully, who rapes a naive young prisoner, Smitty (played by Don Johnson in the L.A. production). Mineo's staging emphasized violence and sexuality. He added a scene to the play, staging Rocky's rape of Smitty in the prison shower, an event that had been kept off stage in earlier productions. The Los Angeles production, which was eventually moved to New York (without Mineo as an actor) featured full frontal nudity. Mineo also directed a subsequent San Francisco production. Although playwright John Herbert did not initially object to Mineo's alterations, he vociferously criticized Mineo's Los Angeles and New York stagings. (Being a convicted felon, the Canadian Herbert was unable to enter the U.S. to actually see the productions.) Herbert refused to sell him the film rights to his play, and the estrangement obviated any chance of Mineo being involved in the 1971 movie version of the play.
- ConnexionsReferenced in Come of Age (1971)
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- How long is Fortune and Men's Eyes?Alimenté par Alexa
Détails
Box-office
- Budget
- 1 109 000 $CA (estimé)
- Durée
- 1h 42min(102 min)
- Mixage
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