Acorrentados

Sidney Poitier continues to break race barriers with this formula jail-break drama. Teamed with Tony Curtis, the escaped prisoners encounter many situations, where their difference in color seems to matter more than the fact that both are fugitives from the law. Throughout the film, the viewer empathizes with the escapees, figuring that they always got a bum deal in life. A scene towards the end, where a single mother sees a chance to "hook up" with Curtis, shows how Curtis, although often disagreeing, even physically fighting with Poitier, still sees Poitier as an equal in their quest for freedom. Rather than "sell out" his friend, he would rather die trying to save him. The inevidable ending (remember that one of the rules in Old Hollywood was that the bad guys can never win)is quite moving.

Definitely among the established Hollywood Classics. Although many of the "old ways" have changed drastically since the late 50s, this film offers insight into a piece of Americana many people living today can still recall. An important piece of Film History, and highly recommended.

I found this film very entertaining, thanks in part from great performances by both Sidney Poitier and Tony Curtis, and due to great directing by Stanley Kramer. The black and white cinematography is great, as is the story of a black man and a white man, chained together and on the run from the law, who hate each other more than captivity itself. Shared experiences and the realization that inside they are both very similar helps both men to understand each other. I also liked the friction between the gung-ho sheriff and the more laid-back, realistic one. The character of the bloodhound owner rings true to anyone who knows a person who breeds dogs. The only thing I didn't like about this film was the Poitier character's singing. I know thats its a big part of the film and it is a form of defiance on its own, but it bugged me none the less. Oh well, small criticism for a great film. But what's with woman who'll sell out her son to some guy who stumbles into her yard? Wrong priorities, I guess.

Opposite characters doomed to each other by handcuffs is an old theme in movies that goes back to at least "The 39 steps" (1935, Alfred Hitchcock). In that film the opposites where man and woman, in "The defiant ones" it is black and white. By taking racism as its subject the film is very liberal in a time that the civil rights issue was firm on the political agenda.

The film thanks a lot to its two main characters. In the first place Sidney Poitier as Noah Cullen. Poitier was the only black star actor of its time and was frequently cast in a film wit racism as its subject. Think of films such as "In the heat of the night" ( 1967, Norman Jewison) and "Guess who's coming to dinner" (1967, Stanley Kramer). This type casting can be interpreted as a sort of racism of its own kind.

Even more striking is the performance of Tony Curtis as John Jackson. In the beginning he was casted as the handsome guy. The year before "The defiant ones" he had proven with "Sweet smell of success" (1957, Alexander Mackendrick) that he was capable of serious acting too.

Director Stanley Kramer has the image of being more or less a moralist. In his films the social engagement is sometimes a bit to explicit. Apart from the earlier mentioned "Guess who is coming to dinner" (1967) one can think of films such as "Inherit the wind" (1960) and "Judgement at Nuremberg" (1961). In "The defiant ones" there is the right mix between social engamement, action and a sultry form of eroticism. In this respect the film has much in common with "In the heat of the night" ( 1967, Norman Jewison).

... but no Charlie Potatoes: like the races they represent, two escaped cons battle through the swamps, and their prejudice, to demonstrate there's so much more to who we are than the colour of our skin.

Sydney Poitier and Tony Curtis are outstanding!

This Stanley Kramer classic covers a lot of ground -- literally and figuratively. Tony Curtis and Sidney Poitier are white and black inmates who, while chained together at the wrist, escape their captors when their prison truck hits the ditch. Now Curtis is forced to put aside his prejudice and work with his new partner in getting the cuffs off and ensuring their newfound freedom lasts.

As its reputation suggests, THE DEFIANT ONES is first and foremost a study of racism. It has a deliberate unpleasantness about it as it brings to life the unsavory attitudes of the past. A young boy who stumbles across the convicts races to the arms of Curtis for fear Poitier will hurt him. A lonely farm wife who takes the men in has to be told that yes, Poitier deserves a meal, too. And as the men face hanging at the hands of some rednecks, Curtis appeals to them on the grounds a white man can't be lynched. Yet the film carries no tired, moralistic messages, instead allowing the racism on display to speak for itself.

THE DEFIANT ONES goes well beyond its central theme. It's an exciting adventure, along the lines of THE FUGITIVE, as our anti-heroes elude their captors and try to survive in the unforgiving wilderness. It's a story of raw human emotions at work and of overcoming adversity by putting our trust in others. And it's a story of loyalty and the capacity of the human heart to change. We come away with the sense that the people involved with this picture knew they were part of something truly special.

Though he was given second billing, Poitier easily steals the show with his dignified performance. He brilliantly conveys the tortured, yet still upbeat soul of a young black man who came of age in a time of unimaginable difficulty. He often doesn't have to speak to let us know the pain he has and will continue to endure. Poitier proves that critics aren't just being kind when they cite him as one of the great black actors of his or any other era (though as we see here, he is definitely no singer!).

THE DEFIANT ONES moves just a touch slow at times, particularly when the focus is placed on Curtis. But this is a movie as important as it is worth watching.