Les révoltés de la cellule 11

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.

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.

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.

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.

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