Cadeira Elétrica

Kindly, sympathetic, upstanding convicts who are on Death Row for no good reason that we ever learn (except that we know Dick Walters has been wrongfully convicted)are put to death by prison guards who vary from indifferent to mean, while the Warden agonizes over what good capital punishment does and the meaning of it all -- until an attempted prison break turns him into the most bloodthirsty of all.

The one-set stage play is opened up a little bit by scenes showing the crime for which Walters has been convicted and the discovery of the criminals who really committed the crime. Good performances are turned in by Preston Forster as Killer Mears, the one prisoner who shows a mean streak that may have landed him on Death Row; and by Daniel L. Haynes, who had starred in Hallelujah three years earlier, as the token black singing prisoner.

Anti-death penalties dramas haven't become more balanced or less simplistic; if anything, the thumb on the scale is even heavier in The Green Mile's recounting of the execution of angelic Michael Clarke Duncan. But today more realistic depictions of prison life and prisoners abound in cable television documentaries, and the misplaced sentimentality of The Last Mile toward its misunderstood convicts isn't easily swallowed. It does, however, have Killer Mears' bravado line at the end of the prison break: "I think I'll go get a little air."

"The Last Mile" is an interesting melodrama set on death row. While it is not entirely credible, and is often heavy-handed, the characters are memorable, and there is a lot of tense action.

The story begins with Richard Walters (Howard Phillips) being condemned to death for a murder that he claims not to have committed. He is sent to death row, and not long after he gets acquainted with the other inmates, a riot breaks out, led by the brutal killer Mears. Walters gets enmeshed in violent events even as his friends on the outside are frantically trying to gather evidence of his innocence. Most of the developments lack believability, and are rather obviously forced, but the story is undeniably dramatic. Once involved, you will have to watch it to the end.

While imperfect and low-budget, this is an interesting film that will keep your attention if you start to watch it.

The first half of the film is slow, talky, and one-act-play-ish. The only good part-- and pretty much the film's only real attempt to build character --is Daniel L. Haynes' fine performance as Number Two. He also has the best line, where with a smiling but sardonic edge, he doubts he'll meet his death-house fellows on the other side, because white people probably won't let a black man share Hell with them.

The movie finally picks up at the midpoint as it suddenly becomes more of a thriller, and the tension ratchets up and up for the remainder of the film's brief runtime. So don't let the Generic Serious Depression-Era Play feel of the first half put you off, because it transforms into a much more rewarding experience.

THE LAST MILE (World Wide, 1932), directed by Sam Bischoff, is not exactly a racing story of cars or horses going through their last lap towards the finish line, but in convicts terms, a prison movie about execution. Taken from a stage play by John Wexley that reportedly starred Spencer Tracy (New York) and Clark Gable (West Coast), it might have been interesting watching either any of these two fine actors reprise his original roles of "Killer" Mears: Tracy for Fox Studios or Gable at Metro-Goldwyn-Mayer. Instead, the Mears role went to the second billed Preston Foster, who did a fine job as Mears. The central character, however, is played by the top-billed Howard Phillips, a name not known but so happens to be one of the actors from the stage production in this screen adaptation whose movie career was relatively brief and totally forgotten.

Following an introductory message about "prison and of the condemned, and what society is going to do about it" by Lewis E. Lawes, warden of Sing-Sing Prison in Ossining, New York, the story opens in a courtroom where Richard Walters (Howard Phillips) is sentenced by the judge for murder in the first degree, and to be executed for his crime on September 13th. Richard's mother (Louise Carter) immediately screeches and cries upon sentence as she witnesses her boy taken away by the guards. No longer a name but now simply an identification number, Richard is placed in a cell on death row surrounded by other condemned prisoners, including John "Killer" Mears (Preston Foster), the toughest of the bunch. As he witnesses Joe Berg (George E. Stone) of Cell 1 being escorted his last mile through the little green door to the electric chair, Richard faints dead away. A flashback foretells to what led to his prison sentence. (Richard's business partner, Max Kuger (Max Wagner) borrows a large sum of money from their bank account, followed by a gas station robbery where Kuger is shot and killed by police while Richard, caught with a gun in his hand, arrested for a crime for which he is innocent). During the course of time, a prison break arises, and Killer Mears threatening to kill every one of his hostages, ranging from prison guards (one being brother-in-law to the warden) to a prison priest unless the warden, Frank Lewis (Frank Sheridan) doesn't meet with his demands for freedom.  

With 1932 seemingly being the year of prison or chain gang themes, bearing such titles as HELL'S HIGHWAY (RKO Radio, with Richard Dix) and the classic I AM A FUGITIVE FROM A CHAIN GANG (Warner Brothers, starring Paul Muni), where Louise Carter plays the mother in each of these aforementioned movie titles, it's interesting how THE LAST MILE wasn't part of the Warner Brothers list of social issues, considering how that studio specialized on this sort of material, or even MGM, where THE BIG HOUSE (1930) featuring Wallace Beery, having started the whole cycle about men behind bars for that time, in spite the fact that Samuel Goldwyn's CONDEMNED (1929) starring Ronald Colman arrived a year earlier. Fox films did one amusing parody of UP THE RIVER (1930) with Spencer Tracy, while Hal Roach got Laurel and Hardy to spoof it in PARDON US (1931). Yet THE LAST MILE, produced by a non-major movie studio, holds up, even where portions seem to be like a reproduced stage play. The story does contain some outdoor activities, but the death row scenes with prisoners holding on to the metal bars in upward positions to be what's shown the most, giving indication to how the play was performed and presented on stage. Other actors in the cast include: Daniel L. Haynes (Sonny Jackson, Cell # 2); Edward Van Sloan (The Rabbi); Alec B. Francis (Father O'Connor); Noel Madison (D'Amoro, Cell # 6); Alan Roscoe (Kirby, Cell # 7), Al Hill (Werner, Cell # 8); among others. Of the major actors, Preston Foster gathers the most attention over Howard Phillips while George E. Stone being a close second through his small but very effective performance.

THE LAST MILE was successful enough to spawn a 1959 remake for United Artists starring Mickey Rooney in one of his finer roles during his latter-day career. The 1932 original, almost forgotten until its resurrection in the 1980s with 1940s reissue opening title from Astor Pictures being the print in current circulation as part of a 45 minute featurette on public television's "Matinee at the Bijou" in 1982. Availability has been followed onto video cassette distribution and later DVD process, along with complete 68 minute late night broadcasts on various public television stations until the 1990s. Cable television has been rare, though notably shown on Turner Classic Movies (TCM premiere: October 5, 2016) where the Astor Print reissue print rather was shown than the 1932 World Wide original opening instead. Regardless of its age, its a gripping screen adaptation about convicts on death row awaiting their last mile to eternal freedom. (*** pardons)

The Last Mile is directed by Samuel Bischoff and adapted to screenplay by Seton Miller from the John Wexley play of the same name. It stars Preston Foster, Howard Phillips, George Stone, Noel Madison and Adam Roscoe. Music is by Val Burton and cinematography by Arthur Edeson.

Interesting watching this pic these days to note just how much set in stone the formula is even today. All of the staples of the prison based dramas are right here in 1932, and of course the thematic beats of anti capital punishment still bang loud as much today as they did back then.

Reprieve! Reprieve!

The Last Mile in production is very much of its time, the stage origins not really leaving us as this is essentially a one set production. The acting ranges from excitable overacting to non credible characterisations. It's also a touch irritating that the key element for our main man Dick Walters (Phillips), the flashback to why he was sentenced to death, is played too early in the piece. And yet there's a power in the drama that lures you in, keeps you right there in the confines of death row.

From a photographic stand point it looks terrific, Edeson's (They Drive by Night/Casablanca/The Maltese Falcon) monochrome lensing is perfectly moody. Holding court in the acting stakes is Foster, who is right at home playing the angry alpha male, it's the plum role and the one with the dramatic swagger. It was a busy year for Foster with 7 releases! Including the brilliant I Am a Fugitive from a Chain Gang.

Not a great film but it's above average, and important in a number of ways as regards the history of genre cinema. While as a time capsule it remains a fascinating venture. 6/10