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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.

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.

Producer Walter Wanger wanted to make a film that exposed the appalling conditions of the prison community - and having been incarcerated himself after shooting a man he was sure was having an affair with his wife - had plenty of personal experience.

The resulting 1954 80 minute gritty drama, almost an unprecedented certificate 15, even now, was directed by Don Siegel. Following a popular format in those days, it starts off with a social documentary approach, complete with concerned voice-over - that this is a public announcement, part expose, part drama. It is not based on fact, at least not from one singular incident.

As you might expect, we follow prison guards (my title is the warning given to them, as they arm-up to thwart the riot), politicians and those who shape policy and of course, a handful of inmates. These provide everyday backbone; their tales are simple and uncomplicated and it's impossible to not side with them, or at least their plight. As ring- leaders take guards hostage, it becomes a nail-biting cat and mouse scenario, with Dunn (Neville Brand) producing ultimatums. Warden Emile Meyer wants negotiation, state officials want only swift force.

The film is well made and tautly directed, efficient but doesn't feel rushed. The version I saw on TCM (Turner Classic Movies) had a slight green cast but was generally good. I imagine that Riot In would have been compelling and possibly controversial viewing for cinema goers. It would have found favour especially amongst those who liked the hard crime film-noir type of dramas of the day, but without any of the glamour of femme fetales.

My guess is that whilst many prison dramas had been made at this point, they were character-lead and not out to socially comment. This would have been as hard-hitting as any TV '60 Minute' (etc) documentary and because it's still a good and credible film, it's still within the public domain, though is rarely shown and expensive to buy.

In one way - 1954's "Riot In Cell Block 11" was kind of like watching a slice of Film Noir that goes to prison with no chance of parole - (Well, sort of) - Minus, of course, the femme fatale angle.

As far as prison pictures go - This gritty, low-budget, tough-guy tale (though mighty tame by today's standards) still packed a substantial wallop even without a non-stop barrage of profanity and bloodshed.

Filmed (in b&w) on location at Folsom State Prison, California - This particular picture is notable for being one of the first in its genre to have the disgruntled convicts manipulate the media in order to make their grievances about prison conditions known to the public.

Yes. This picture featured typical, prison stereotypes. And, yes, it contained its fair share of unintentional humour, as well - But, all the same - (With its fast-paced, 80-minute running time) - It was still well-worth a view.

"Riot In Cell Block 11" (which was produced on a $300,000 budget) was directed by Don Siegel, who would later go on to direct Clint Eastwood in 1971's Dirty Harry.

"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.

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

I hadn't even heard of this movie before until I stumbled upon the DVD of it at my neighborhood video store, and I decided to take a risk and rent it. After watching it, I'm glad I took a chance. Though the movie does seem a little tame when compared to modern day prison movies, it still packs a decent sized punch. It does bring up some of the brutal things prisoners have to go through, as well as the sometimes brutal behavior of prisoners themselves. And the way things are wrapped up at the end does come across as believable. The authentic feel of the movie is greatly assisted by shooting in a real prison with real inmates and guards.

If I have a complaint about the movie, it would be that none of the characters are really examined deeply. I would have liked to have learned more about some of the ringleaders of the riot, as well as some of the guards. Though such deeper examinations might have made the movie much longer than the lean yet efficient eighty minute running time, and the movie might have dragged. But that's a minor problem; the movie as a whole works very well.

Riot in Cell Block 11 comes as a bit of a shock, but not because of its brutality (it's a cuddly little puppy compared to Jules Dassin's Brute Force). The shock is that Don Siegel, later to become inextricably associated with such violent and/or reactionary movies as his remake of The Killers, Madigan and Dirty Harry, turned out a temperate, balanced and humane look at prison conditions; another shock is that the movie emerged in the middle of a complacent decade not remembered for its sympathy to marginalized groups in American society.

The droning voice-over that opens the movie doesn't bode well: It warns of a wave of riots throughout penitentiaries across the country and even takes us to a criminal-justice convention in Toronto where the topic is aired. But soon we're inside Cell Block 11, part of a run-down, overcrowded institution whose warden (Emile Meyer) has been campaigning for reforms, to no avail. (Standing up for convicted criminals, then and now, is political suicide.) When opportunity knocks, the inmates take over the asylum. What they want is press coverage of their quite moderate demands: More elbow room, separate facilities for the mentally ill among them, job training. But they've taken guards as hostages, and threaten to execute them if their demands aren't met.

Leader of the rebels is Neville Brand, who tries to negotiate in good faith, but Meyer has one hand tied behind his back – by Frank Faylen, a hard-line state bureaucrat. Brand, too, has trouble keeping the prisoners in line, particularly those who see the riot less as a cause than as a chance for some cheap thrills. Siegel manages to keep the story taut within the claustrophobic confines of the prison and without too much in the way of splashy incident, until he brings it to a surprisingly rueful end. Somehow, he has managed to make an issues movie told almost solely through action.

Siegel's career proved that he had more sides to him than he's generally known for. He started out cutting montages in other directors' movies (Blues in the Night and The Hard Way among them); when he moved into directing, his early work showed range in style and tone: The period thriller The Verdict, the light-hearted noir The Big Steal, the eschatological drama Night Unto Night. Too bad we can't remember him by saying that he just got better and better, because, unfortunately, it just isn't so.

An exceptional social issue film about prisoners rioting, trying to get the press to tell the stories of their mistreatment and trying to get the government to effect change in the prison system. Everything about it is absolutely top-notch: the screenplay and the direction are realistic and very, very taut. Don Siegel, I assume, didn't have a huge budget on this one, and he accomplishes an amazing lot. I love the way Richard Collin's script pits the rioters not only against the establishment, but also against each other. In a cell block full of so many differing personalities (or perhaps "criminalities" is a better word), they're not all likely to agree. The acting is almost universally excellent, with the one exception of Emile Meyer, who plays the Warden. He's a little creaky, but all the others, including Neville Brand, Leo Gordon (who had been a real prisoner in the prison seen in this film), and Robert Osterloh among many others, are pretty much perfect. One strong moment after another makes Riot in Cell Block 11 a must-see gem, a low-budget masterpiece. 10/10.

Pretty good little movie set in California's famous Folsom Prison, this is both a hard-hitting prison drama and a "message movie" advocating for prison reform. Character actor Neville Brand leads the charge among the prisoners, who also include the intimidating Leo Gordon and the more level-headed Robert Osterloh. I appreciated the fact that the prison warden (nicely played by Emile Meyer) was not written as a baddie; on the contrary, he's shown as advocating himself for some of the reforms that the prisoners take up. Well-done overall, with an almost documentary style that suits the drama which unfolds.

Using nothing but character players and the personal recollections of what producer Walter Wanger saw while he did a stretch in the joint Don Siegel crafted a real masterpiece of a prison film in Riot In Cell Block 11. In fact the lack of star players gives this film a nice ring of authenticity to it.

Cell Block 11 in this particular prison is the solitary ward, the place where the toughest cases are assigned. With a pair like Neville Brand and Leo Gordon in that block would you think otherwise.

Anyway to protest the conditions they're in the prisoners led by Brand stage a riot where they take the guards assigned to that block hostage. When Brand is wounded in a quarrel, Leo Gordon takes over leadership and he's belonging in the psycho ward. But he's the toughest guy in the joint and nobody is going to argue with him.

Emile Meyer does a great job as the warden who is a decent and compassionate individual trying to affect a few reforms. His pleas fall on deaf ears because then as now, convicts don't have any votes and by definition they are an anti-societal group. Meyer's humanity is contrasted with that of Frank Faylen who is a political appointee and tries a grandstand play with the convicts that almost gets him killed.

This is as realistic a prison drama as you will ever get. Big accolades go here to Walter Wanger who had an incredible unique perspective of life on the inside and turned it with Don Siegel's help into a great motion picture.

This begins with a television interview given by real-life prison reformer Richard McGee who reacts to a well documented spate of prison riots by informing the audience that they, too, must bear their share of responsibility for the conditions endured by the inmates. We are then taken to Block 11 where it does prove remarkably easy - especially given the prevailing tensions across the system - to nobble a guard, take his three colleagues hostage and then within a few hours take control of their entire prison. It's "Dunn" (Neville Brand) who came up with their plan, and escape isn't his intention. He wants both the prison governor (Emile Meyer) and the state one (Thomas Browne Henry) to agree to a series of demands that will ensure a more humane form of incarceration in future. What now ensues is a delicately played game of chicken. The prisoners reckon they don't have much to lose by killing one of the hostages if they don't get what they want. The authorities are terrified that acquiescing might just be a taper to light fires in institutions all across the country. Don Siegel delivers quite a poignant drama as the inmates begin to factionalise whilst the powers that be struggle to resist a more direct intervention and Brand, Meyer and Robert Osterloh's "Colonel" help create a story that offers food for thought. We have no idea why these men are in prison, which means we must make our evaluations as to the modern-day version of torture and solitary confinement imposed to keep discipline or to break spirits, or both, blindly? Yes, it is a bit predictable, but still worth eighty minutes.

Riot has a stuffy, yet warranted prologue followed by a much too brief introduction to the prison itself. Herein lies the movie's first flaw. We're not presented with a prison where the "screws" are power-hungry jerks or sadistic hotheads. It would be fair to assume as much. But viewers are human and human beings often hide their heads in the sands when confronted with the misdeeds of the establishment. Cinema is sometimes the only way to reach them. But the ugly truth can't be fully comprehended if examples of it is only referred to rather than shown. Ringleader Dunn shows visiting photographers the tools the guards beat the inmates with, but we don't see the guards abusing the inmates. As much as this movie has an admirable conscience, it could afford to reveal a bit more. Because it doesn't, we don't a great sense for what the stakes are. Tarantino called this the "best prison movie ever made." It's not a lofty rebuttal to say that he's wrong.

Riot has plenty of credibility though. You might expect that a film from this era, would present more moral absolutes. But this isn't a genre shock piece about the criminal class. There's no macho-minded suggestion that the convicts in this prison are snakes in a viper's den. The frailty of the inmate's experience is presented early as a prisoner wearily mutters, "momma" in his sleep. If John Wayne were in this movie, he'd simply refer to the inmates as lousy vermin and scoff at their grievances.

Flavor wise, characters like Crazy Mike and Dunn provide the kind of rugged rough N tumble grit of the black N white variety. There's even a "give it to me straight," for good measure. You could watch this movie blind and still identify the 50s noir-like atmosphere. The orchestral score has a heavy horn section and you can practically smell the whiskey on the breath of actor Neville Brand every time his toad vocals croak.

As far as social value, it is ultimately a less poignant predecessor to more shocking movies like Brubaker (1980). But it's notable for being progressive even by today's standards. In 1954, it may have even been called "liberal nonsense." Yet, even with the sensitive morality and ethical internal conflict between the prisoners, the machismo hasn't been compromised one bit.

It is a normal night in block 11 of the city jail. One prisoner calls a guard over to his cell for assistance but knocks him to the ground and grabs his keys. With the rest of the prisoners released one by one and the handful of block guards captured, ringleader Dunn demands the warden gets the press to the block. The plan is to expose the conditions and overcrowding that they live in, however negotiations between prisoners and the prison officials are slowed by the involvement of politicians as, in block 11, tensions build between the inmates.

Based on the experiences of producer Walt Wanger it is no surprise that the strength of this film is its documentary-feel. It is gritty and does feel pretty realistic and for the most part this does carry the film along well and make for a solid drama. At times it is far too stagy and has some dialogue scenes that scream "message" as they make the points in very obvious ways. The drama unfolds well though, despite the occasionally clunky script, and the interplay between those at the coalface and those in political power is convincing, as is the range of attitudes within the group of convicts themselves.

The acting isn't up to much, which is perhaps part of this being a low budget b-movie and they do struggle with the rather unnatural dialogue given to them at times. That said though, Brand does well as Dunn while Meyer's warden is solid if a little stiff. Faylen's politician is a bit too one dimensional to be of intelligent use but he serves his purpose. The support cast are mostly good wallpaper with turns from Gordon, Osterloh and others. Siegel directs with an eye for realism and grit, responsible for the film having an edge of realism.

Overall then, a solid drama with a gritty documentary feel. It is a bit stagy and has unnatural dialogue at times but mostly it is good enough to cover these weaknesses.

There's an incredible backstory to the production of Riot in Cell Block 11. It was filmed in Folsom Prison using real inmates as extras, and both the producer and one of the lead actors had actually been in prison earlier in their lives (not for homework to immerse themselves in the story). I'd never heard of the film before, but I'm always interested in watching an old prison movie; they're guaranteed to be less gruesome than modern ones. However, I wasn't quite prepared for the bleak tone of this movie. It might not have been gruesome, but it was violent and at times, very disturbing.

I liked Emile Meyer's interpretation of his character, the warden. He was gentle and soft spoken, so you could understand why his previous requests to reform the prison hadn't been met yet. Frank Faylen, a politician, is much firmer and colder, and you can imagine them going toe to toe in the negotiation room: Emile wouldn't put up too much of a fight. The key prisoners had different personalities, too. Neville Brand didn't want a violent rebellion, but just wanted his cause to get publicity and popular opinion behind it. Leo Gordon, on the other hand, had a hair-trigger temper and wouldn't care if he killed all the guards in the prison. Robert Osterloh didn't want any part of the riot, but he was the only one articulate enough to write the prisoners' demands.

If you like prison-break movies, definitely rent this one. Don't be put off by the black-and-white footage if that's not normally your style. It's highly dramatic, captivating, and has a definite message to put across. You get involved with the warden, the politicians, the guards (including film-prison-break veteran Whit Bissell), and the prisoners. And when you're done, be sure and read the background of the actors!

I was looking forward to this movie as Don Siegel was responsible for many Clint Eastwood movies including Dirty Harry and another great prison movie with Eastwood Escape from Alcatraz.

Unfortunately with a running time of only 80 minutes this seemed very slight and didn't really have a whole lot of meat to it.

Maybe it could be the fact I watched it late at night but by about halfway through I pretty much lost interest in it.

It's certainly well acted and photographed well but I was hoping more for riots between prisoners. This is more of prisoners vs. Authority figures and maybe it's because I saw other movies on a similar subject that this just didn't feel like anything new nor something to really sustain my full attention even at a mere 80 minutes.

Granted this movie is also 71 years old and is very dated but as someone who likes classic films I wouldn't consider this a classic prison movie.

Siegel's own Escape from Alcatraz which came along 25 years later was a much better movie that legitimately held my interest and never felt dull.

This starts off ok but once you get halfway through it becomes rather predictable and just gets to be more of a chore to sit through up until its finale.

I liked some of the performances to be sure but to me this seems like they almost wanted to make a documentary initially but decided to do something fictional last minute. The whole thing feels like it was shot together very quickly.

If you're a die hard classic movie fan and you can appreciate something in a majority of movies you'll likely enjoy this but for everyone else there are at least half a dozen prison movies far more entertaining than this.

In addition to Siegel's other aforementioned film Shawshank Redemption, An Innocent Man with Tom Selleck, Steve Buscemi's very underrated Animal Factory, The Longest Yard (both versions) and many others are far more entertaining prison movies than this. Even the forgettable Brubaker with Robert Redford was more entertaining.

The performances give it a big boost but on the whole it's very slight and overall forgettable.

Quentin Tarantino says this is the best prison movie ever made? Completely disagree. While not without some value, any of the other prison movies aforementioned are all far better.

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.

I'm a massive fan of prison dramas which is reflected in OZ being my all time favourite American TV show . I guess the appeal lies in a type of smug voyeurism of wanting to see bad things happen to bad mens' bottoms , but I found Don Siegel's RIOT IN CELL BLOCK 11 to be rather disappointing . Okay I knew since it was made in 1954 it would be devoid of bad language , graphic shankings and gang rape but even so it's a rather weak film compared to prison portrayal in earlier movies like EACH DAWN I DIE and WHITE HEAT . The problem lies in the preachy tone of the movie with riot leader Dunn being something of a prison reformer . Yeah that sounds ridiculous since he's a violent anti hero rather than some limp wristed tree hugging do gooder on a salary , but that's what he is in essence , he wants to see prisoners rehabilitated to rejoin society rather than being made to suffer . There's also a problem of making a B movie with such radical themes ( Quite ironic that Siegel would later make DIRTY HARRY where the only good criminal is a dead one ) and that is the cast isn't very good with Emile Meyer as the warder being especially irritating in his performance . like i said a disappointing movie

Often on saturday night I've must to see routinelly a Noir picture despite just so few remains, to open my weekend's sessions, in this small picture Don Siegel used almost entirely the prision inmates to make it, also some guards too, as B-movie is plenty well done and how those riots always began trying to reveal all worst conditions in countless so-called restoration places, the main matter that is, l'm totally outsoken over this crime's schools when all kind of the criminal are gathered without any discretion from the appropriate authorities, that a powerful message, an informative note very relevant are about two ex convicts as Leo Gordon that had goes into the presidio by rear entrance and the producer Walter Wanger as well, impressive picture based in real facts by a visionary director!!!

Resume:

First watch: 2018 / How many: 1 / Source: DVD / Rating: 8.25

One of those 1950's Film Noirs that starts out a documentary, in this case an actual warden speaking about the "riot problem" in American prisons while a montage of news footage is shown, all occurring after the opening credits to blend smoothly with the equally grainy B&W fictional story-line, despite supposedly hard-edged prisoners Dabbs Greer and Alvy Moore's goofy smiles and upturned giant-brimmed caps more befitting a keystone comedy, albeit very quickly recovered by real life San Quentin (where this was filmed) ex-con Leo Gordon as Carnie, a formidable borderline psychotic, second fiddle to ringleader Neville Brand as Dunn, the spokesman of not just the inevitable frenzied riot but taking guards hostage within CELL BLOCK 11, resembling an abandoned barracks in purgatory... that desperately needs a makeover, or else...

The most intriguing scenes involve various meetings with tough but progressively sympathetic warden Emile Meyer, whose own antagonistic ally... a snarky politician setting off the already set-off prisoners... looks down on the bartering Meyer and Brand, even more than the most upright prisoner Robert Osterloh's war-hero Major does the noisiest of his fellow guard-bullying inmates...

When he becomes the behind-the-scene brain of the negotiated prisoner vs state police standoff, Brand's set loose to reveal his own brand of edgy menace while remaining this prison's proverbial union agitator: a conflicting battle of good and evil, and without going over-the-top...

Meanwhile, the suspense really kicks in when it's do-or-die for the guards (Paul Frees a worried newbie and a hard-nosed Whit Bissell), CAPTURED within a unique prison-noir that tows the line of gritty realism, governmental idealism and... directed by the always-capable Don Siegel, bringing producer Walter Wanger's labor-of-love to gritty life... a heavy dose of uncompromising tough guy cinema.