Il giardino della violenza

This is the first of the several black and white films that Frankenheimer made in the sixties, most of them excellent. Although is not as good as The Manchurian Candidate or The Train it has also his usual rigor in the construction of a plot with political implications. Lancaster has a good performance, his appointments with the members of the gangs are enough believable and the trial scene reaches an adequate climax. The film starts with the murder of a blind puertorican boy by three italians guys, members of a gang. Lancaster, who was born in little Italy and has changed his surname Bellini to Bell has to prosecute them as D.A. despite of one of the italians boys is a former gilrlfriend's son.

This was also one of the first playings of Telly Savalas and is remarkable that his performance as a cynical policeman prefigures his later successful in "kojack", although it wasn´t the most appropiate for this film.

For The Young Savages Burt Lancaster went back to his roots. The actor was born and raised in the East Harlem section of Manhattan. At that time it had not become a Latino neighborhood, it was predominantly Italian where he grew up. To this day there are still a few Italian families in the area in and around Pleasant Avenue and neighboring streets. His had to be the only WASP family in the area at the time.

In 1961 just as you see in West Side Story the neighborhood was divided with racial and ethnic tensions. But these kids don't sing and dance between rumbles. They are a hard bitten bunch of punks on both sides.

In fact that's where our story begins as three Italian kids leave their turf and go and stab a blind Hispanic youth. It's a crime that shocks the city. Ambitious District Attorney Edward Andrews sees this as a case when successfully prosecuted could make him governor. He relies on one of his best men, ADA Burt Lancaster to bring home a victory and a trip to old Sparky as they called the electric chair in Sing Sing.

Of course there's a lot more to the case than meets the eye both in the crime and in Lancaster's conflicted loyalties. He's happily married to pretty Dina Merrill from the suburbs. She's what you call a limousine liberal, one who's ideas are shaped by books instead of living the poverty she's studied in school about.

I've met many like that and it really is true many conservatives are liberals who've been mugged. When one of the gangs gives her a bad experience, she sings a different tune.

But where The Young Savages falls apart for me is the fact that Lancaster was once involved with Shelley Winters, the mother of one of the three defendants. I'm sorry, but right then and there Lancaster in real life would have recused himself from this case. Of course Winters appeals to him for old time's sake and Lancaster starts doing his own investigation and prods the police to do more on their end.

In the film also Lancaster is from that neighborhood. His character's family name of Bell was once Bellini. Many families with ethnic names of all types anglicized them or had them anglicized by immigration officials.

The film which according to a recent biography of Burt Lancaster was shot in 35 days on location in New York City. It was a project Lancaster did while waiting to do Birdman of Alcatraz. The Young Savages is notable for being Telly Savalas's big screen debut and for Lancaster using TV director John Frankenheimer on his first big assignment. Purportedly Lancaster was pretty rough on Frankenheimer, but in the end he impressed the star so that he did four more films with him including Birdman of Alcatraz. And Telly Savalas was in that one too.

Though the film is based on one horribly bad premise, the acting and directing are not bad. I had the same criticism of 12 Angry Men in which another young talented director, Sidney Lumet got his first break. The Young Savages remains a graphic look at a seamier side of New York City during the Kennedy years.

The Young Savages (1961)

Released six months before "West Side Story," this elegant story of New York gang violence in the ghettos of uptown Manhattan is as powerful, and as beautiful. And the title makes clear that the movie is pointing to a new social problem, the immigrant gangs (Italian and Puerto Rican in this case). But in most ways "The Young Savages" couldn't be more different.

At the heart of it all is district attorney Hank Bell, previously Bellini, played by Burt Lancaster in what struck me as possibly the most subtle role in his career. That's an absurd thing to know for sure, and Lancaster is so good so often it's easier to just say he is terrific, but if you know him from some noir films or from "Birdman of Alcatraz" or "Judgement at Nuremberg" you might know a more overtly dramatic actor. Here he is restrained in a perfect way, his pauses and his turned head adding depth to his apparent struggle with how to get at the truth as the events and the witnesses start to swirl out of control. A virtuosic performance.

The themes are hot topic issues layered with good old fashioned love and loyalty. Mostly we have first and second generation immigrant trying to define themselves, to stake out a place in the city, and to fend off competing immigrant groups and sometimes invade their territory. Bell's own Italian-American background makes him understand the problems of youth violence from the inside, but he has avoided being identified as Italian, and even his wife doesn't quite accept him as an immigrant, but wants to see him as more like her, a Vassar girl. Which he is not, even if sometimes he passes as a Yankee or as an old stock New Yorker.

Much of the movie is that wonderful quite and deliberate investigation of the crime, the facts, the witnesses, the evidence. And we see this through Bell's eyes. The last long section is pure courtroom drama, and it's as good as courtroom dramas get, gutsy and tense. In the biggest sense, real justice is achieved, even at the expense of some reputations or expectations around the D.A. (who of course is supposed to always want and get the death penalty). By the final turns of events, you see the story is really about a single man who struggles against his own bias and does the right thing, and does it well. Director John Frankenheimer once again pulls off a movie with social significance that doesn't forget it's roots in theatrical drama.

Cinematographer Lionel Lindon is an old pro, starting with some 1940s boilerplate movies sprinkled with some gems ("The Blue Dahlia" is a great one) and then scores of television shows. And the next year, 1962, he shot "The Manchurian Candidate" which succeeds partly for its amazing visual pizazz. Here, there are both moments of beauty and of cacophony. The fight scenes, and the dazzling murder that starts the movie off, are mini-masterpieces. But even quiet moments are given anxiety and drama by shooting at sharp angles or by moving in close. It's quite a beautiful experience to watch this, even as the events are tumultuous.

Solid drama of racial tension and prejudice well directed by Frankenheimer and acted with feeling by the cast. Lancaster is earnest but he is put somewhat in the shade by Shelley Winters in a strong supporting performance full of sad resignation and vulnerability, when she was on her game as she is here and reigned in her inner ham they were very few actresses as good at presenting the human condition. Edward Andrews is very good as usual in a small part as an ambitious politico, another underrated and unfortunately obscure actor who was always good whether in drama or comedy. As a study on the effects of poverty on people it is sadly still a timely story.

Post-World War II, there was a rise in juvenile delinquency, and this was mirrored in films such as "Blackboard Jungle," "Rebel without a Cause," "High School Confidential," and "Knock on Any Door." Antiheroes like James Dean and Marlon Brando became popular, and sexual threats like Elvis Presley invaded music. To adults, the kids were out of control.

"The Young Savages" from 1961 is another film looking at the rise in delinquency, this one starring Burt Lancaster, Shelley Winters, Dina Merrill, and Telly Savalas (in his film debut). Directed by John Frankenheimer, the film is an attempt to get at the psychological reasons behind the murder of a Puerto Rican boy in Harlem.

Lancaster plays DA Hank Bell aka Bellini before his father changed it. He grew up in the neighborhood depicted. Now there is an ethnic division, the Italians versus the Puerto Ricans, with gang activity on both sides - West Side Story sans music.

Hank Bell is to prosecute the juveniles accused of the stabbing, and one of them is the son of a woman (Winters) whom he once dated. She tells him her son could not have been involved in any murder and begs him to look into it. In real life I think he would have had to give the case to someone else, but here, he tries to find out what really happened. Along the way, he learns some things about himself.

Like "Knock on Any Door," "The Young Savages" endeavors to show what's behind the tragedy. Merrill is Karin, Hank's suburban life, with the liberal philosophy of one who doesn't actually deal with juveniles. She's a far cry from Hank's old girlfriend from the neighborhood - Hank has reinvented himself and has a debutante type for a wife. Partly from guilt, partly from "there but for the grace of God," Hank throws himself into the case, endeavoring to see both sides, to the complete annoyance of his superiors.

Good movie with an intense performance by Lancaster. The film is notable also for being Telly Savalas' first film, playing a police detective with shades of Kojak. The juveniles - Stanley Kristien, Neil Nephew, Luis Arroyo, Jose Perez, and Richard Velez, are all excellent.

Though somewhat derivative, this is a good film -- Burt Lancaster's production company was associated with quality films, and this is one of them.