कुल हैंड लुक

Amazing movie....watched it for the first time three or four years ago. Seen it plenty of times since......this, along with "One Flew over the Cuckoo's Nest", is one of my favorite films of all-time. Luke is a truly memorable character; funny, tragic, inspirational.....a lot like Randle Patrick McMurphy. Paul Newman once again proved the Academy to be full of idiots, giving a great performance deserving of an Oscar. How he only won once, when Sally Field is the owner of two statuettes, is inexplicable. His run of classic films and touchstone characters from the 60s-70s (Luke, Fast Eddie, Butch, etc) is unparalleled. George Kennedy was good, too......I mightn't be good at critiquing, but I know what I like. And I like this.

I first saw "Cool Hand Luke" the first week it came out. Went to see it with my father at a theater on the Upper East Side in Manhattan. We were just a few blocks away from the hospital where my Mom was dying of cancer and we just needed a break. It was cathartic. Feeling as beat up and left for dead as I was at the time, I came across a character who knew how to take the punches. "Luke" is a beautifully crafted film. Not one wasted frame or moment. Donn Pearce and Frank Pierson's screenplay is nothing less than a working man's parable of a truly good soul who just couldn't seem to get a break. In ways, it could be said he truly didn't let himself. But the strength within Luke that would not let him compromise who he was for who he was told to be, the resilience to fight back against those who tried to fight him on that was inspirational. Whether it was a carefully chosen remark or just one of them Luke looks, They knew They couldn't knock him out no matter how badly They knocked him down. Seems he handled life like that, and it was an example I've clung to and have tried to follow in the almost fifty subsequent years. Conrad Hall's cinematography was breathtaking, providing the scope of all the integral parts of the story with the immediacy of all the most intimate moments. Any single frame could hang on your living room wall as the centerpiece. The cast: Dennis Hopper, Strother Martin, Lou Antonio, Ralph Waite ... and George Kennedy. Academy Award Winner George Kennedy. "Dragline". The most unforgettable "gentle giant" I believe I've ever seen on the silver screen. Each and every one of them, in all their glory and in the simplest of nuances, helped raise Paul Newman's masterful portrayal to an ever higher level, maybe his best work ever. The character is very much the story in "Cool Hand Luke" and the ensemble brings it to life. Frustrating, challenging, confusing, pain- in-the-ass life with just enough of that rebellious spirit to bring hope to those facing some of their tougher times. I saw the film four more times that first year, and probably twice each year since whenever I could find it. Check in with Luke and the boys for a breath of fresh air and some world-shaking hope. Can't speak for anyone else, but Luke is right up there with Atticus Finch for me when it comes to celluloid heroes, these are the two whose stories got me through some really, really bleak times. And for me, "Cool Hand Luke" was ultimately a story of hope. The story of a man who never gave in. Never gave up. And never stopped grinning. All that they piled on him, all they tried to bury him under ... just wasn't worth his getting worked up over. Wasn't gonna get to his spirit.

Having had the advantage of reading Donn Pearce's novel about a year before seeing Cool Hand Luke, it was with great anticipation that I awaited it's transfer to the big screen. I was not disappointed.

Cool Hand Luke could easily be classified by the misguided as just a prison yarn, but it is so much more than that. It is the story of a man who refuses to be nailed down or conform to the rules and regulations of a society that he has never craved to fit into. When Lucas Jackson is arrested for cutting heads off parking meters, his explanation to the prison captain(Strother Martin) is "Small Town, not much to do in the evening", which would have us believe he was just being drunk and stupid. Later, to one of the other inmates he mutters the same answer, but importantly adds "just settlin some old scores". It is a brief but important point in helping to define the character of Luke beyond just being drunk and damaging public property. As a service man, we also discover that Luke won a bronze star, achieved the rank of sergeant but came out as a private. Again, early evidence that Luke is unable to conform to any body's rules but his own. Yet, we are given clear evidence that Luke knows what is right in principal and what is wrong. At one point in the film when they are putting Luke in the box under less than reasonable circumstances, he tells the boss, "calling it your job don't make it right, Boss." In a visit from his mother Arletta(Jo Van Fleet), Luke says plenty about his own character by telling her, "A man's got to go his own way" or as he also puts it, "I tried to live always free and above board like you but I can't seem to find no elbow room".

As Luke enters the prison that will supposedly be his home for the next two years, we meet the other inmates. Some of them wear chains, some of them do not. It is a point early in the film that director Stuart Rosenberg, emphasizes. We understand quickly that sooner or later you conform. You either walk the line the way the bosses tell you to, or they will find the means to get you to walk the line. As the Captain reiterates, "for your own good, you'll learn the rules" A point driven home often.

What we discover about their crimes is minuscule. One is jailed for manslaughter after hitting a pedestrian with his car, another is a paper hanger, another new inmate is charged with breaking, entering and assault. The nature of their crimes is unimportant to us. It enables to view these prisoners as men, and while we don't feel any genuine sympathy for them, feeling disgusted by their crimes would have been a distraction from the true purpose of Pearce's story, and Luke as the focal point.

Because of his individuality, it doesn't take Luke long before he unexpectedly becomes a hero to the other inmates. It is not a role he chooses, or even wants. It unexpectedly imposes the burden on him of having to live up to the expectations of others. He never truly understands the nature of this hero worship, and would be just as happy if he didn't have to deal with it. He is still trying to find his way in the world, and if there is any real purpose for his existence.

Another principal character is Dragline(George Kennedy). It is he who finally establishes the fact that Cool Hand Luke is a man who can not be beaten. Dragline's admiration for Luke seems to extend from the fact that he(Dragline)has learned the rules on how to get by, but yet regrets having lost some of his own individuality in the process. He is the rest of the inmates in microcosm. I can't remember a role that George Kennedy has ever been better in, and he deservedly won the best supporting actor award.

Cool Hand Luke is not without it's humorous moments especially in the early going. It is these moments that help move the film from the early stages to the darker more despairing later stages. Perhaps, for that reason alone we are even more effected by Luke's dilemma.

In translating his novel to the screen Donn Pearce along with Frank Pierson, has managed to bring the heart and soul of his nove to the big screen. Lalo Shifrin's memorable score emphasizes often the repeated drudgery of working on the chain gang. Director Stuart Rosenberg made more good films after Cool Hand Luke, but in my opinion never achieved the same degree of perfection that he does here.

As Cool Hand Luke, Paul Newman give one of the most memorable performances in a long distinguished career. It is not an easy task portraying a man who travels the road from being a sincere individualist, to a man who may be beaten and defeated, yet in the end is still unwilling to accept that fate. Although Rod Steiger won the best actor award that year, one could argue that Newman's role was more difficult, as it required substantially different subtle ranges in character. As for the failure of Cool Hand Luke to achieve a Best Picture nomination, I'm at a loss to explain that malfunction, especially when the likes of Doctor Doolittle and Guess Who's Coming To Dinner, far lesser efforts than this were nominated.

Cool Hand Luke is a true classic in every sense of the word. It is a film that will long be remembered.

My grade: A+

Now that it has become sort of fashionable to speak or write badly about the films of the 60s and 70s, saying that people stopped going to the movie theatres during that fruitful period (which is not true), we must -more than ever-rate a flick as "Cool Hand Luke" as it really deserves. The rebel spirit of the lead character (played to perfection by the excellent Paul Newman) against that brutal and -most of the times- unfair "establishment" represented by the prison guards is a subject that remains as topical as ever. If this picture had been made today, it could also probably be good, but it would undoubtedly be much more unpleasant and filled with four-letter words. Besides, who could match the performances of Newman, George Kennedy (the deservedly Oscar-winner who has kept on making a brilliant career -do you remember him as "The Blue Knight"?), Strother Martin, J.D.Cannon, etc.? Jo Van Fleet´s character as Luke´s mother seems a sort of slightly-aged version of her role as James Dean´s mum in "East Of Eden", and it is really worthwhile. The scene of the hard-boiled eggs is a classic and a gem, but my favourite scene in the movie is that of the car-washing girl so wonderfully played by Joy Harmon (who is really a Joy for any man´s eyes); that character truly says a lot of things without speaking -her gorgeous body speaks for her! I must say that it´s not only one of the sexiest scenes I´ve ever seen in a film but also a very significative one: there is an enormous contrast between the image of the lass moving and shaking in complete and absolute freedom (even in her way of dressing) and the imprisoned men-at-work who watch her as something extremely desirable but, alas, completely out of reach. (The viewer can really feel like a prisoner too!). All in all, this is a fine film of the 60s, but also of the 70s, the 80s, the 90s, the 21st century and whatever God wants it to come.

Cool Hand Luke (1967)

**** (out of 4)

Paul Newman plays the title character, a man who just can't reform to the rules in life and can't reform to the rules when sent to a chain gang. This is certainly without question one of my favorite movies and it certainly had a large impact on my life when I watched it as a teenager. I hold this film very close to my heart and especially the character of Luke but even without the personal feelings this remains one of the better movies out there. Some have called it a prison movie but I think that's really an insult because the film is so much more than that including one of the best character studies out there. The film has so many laughs, so many painful moments and so many dramatic moments but I think the true heart of the film is in its honesty towards Newman's character. There are countless great scenes including the legendary egg eating contest but one of my favorites has always been the ending with Newman talking to God inside the church. Needless to say, Newman is brilliant in the role and while it's hard to say which one performance of his is his greatest this one here is awfully close. You can really see Newman sticking his heart and soul into the role and you really can't imagine anyone else playing the character. George Kennedy also deserved his Oscar and Strother Martin makes for one great villain.