JohnDoe
Bryn
BrentonCool Hand Luke (1967)-Footage Included
December 12th 2006 02:57
Cool Hand Luke
Director:Stuart Rosenburg
Cinematographer:Conrad Hall
Writer:Don Pearce and Frank Pierson
Music:Lalo Schifrin
Starring:Paul Newman, George Kennedy, Strothers Martin, Jo Van Fleet, Clifton James, Luke Askew, Dennis Hopper, Harry Dean Stanton,
“What we got here is…failure to communicate” - Captain
Powerful, inspirational and revealing, massively successful upon release the film influenced a generation and came to define the prison genre.
Tapping into the psychology of the tumultuous sixties, by the time he made Cool Hand Luke, Paul Newman was already an iconic antihero of the silver screen, the role of Lucas Jackson cemented it in stone.
Sentenced to a chain gang for the senseless crime of taking the heads off parking meters, Luke is a loner, bucking authority at every turn and refusing to conform to the system.
On the outside his stubborn disregard for rules makes him a loser. On the inside it becomes his strength. Taking everything that they throw at him, Luke’s flippant attitude initially sets him at odds with both the gaurds and the prisoners.
“Well that oughta be easy for a genuine son of a bitch.” - Luke
The bullying head inmate Dragline (George Kennedy) learns quickly that Luke is unbreakable and respects him for it. Picking cotton and paving roads, keeping his soul alive anyway he can, Luke seems unfazed by even the most brutal treatment.
“He was smiling... That's right. You know, that, that Luke smile of his. He had it on his face right to the very end. Hell, if they didn't know it 'fore, they could tell right then that they weren't a-gonna beat him. That old Luke smile. Oh, Luke. He was some boy. Cool Hand Luke. Hell, he's a natural-born world-shaker.” - Dragline
Refusing to adapt to life in a cage, constantly questing for freedom, old Cool Hand faces every challenge head on. Wether it’s taking the beating of his life in a prison yard boxing match, consuming 50 eggs or just enjoying the eye candy of a half naked woman washing here car.
“Yeah, well, sometimes nothin' can be a real cool hand.”-Luke
Gradually becoming an inspiration to all those around him, the prisoners begin to worship the laidback rebel and the screws start pushing harder, determined to destroy his spirit.
“(Praying) Anybody here? Hey, Old Man. You home tonight? Can You spare a minute. It's about time we had a little talk. I know I'm a pretty evil fellow... killed people in the war and got drunk... and chewed up municipal property and the like. I know I got no call to ask for much... but even so, You've got to admit You ain't dealt me no cards in a long time. It's beginning to look like You got things fixed so I can't never win out. Inside, outside, all of them... rules and regulations and bosses. You made me like I am. Now just where am I supposed to fit in? Old Man, I gotta tell You. I started out pretty strong and fast. But it's beginning to get to me. When does it end? What do You got in mind for me? What do I do now?” – Luke
John Doe says:
Classic cinema that is deep and affecting. Speaking volumes about human nature and illustrating the misunderstood potential of those unable to adapt to the hypocrisy of modern society.
Director Stuart Rosenburg (Murder Inc, The Laughing Policeman, The Amityville Horror, Brubaker, Pope Of Grenwich Village) steers the film with a stern eye. This is tough and gritty, counter weighted with heart and genuine emotion that refeuses to get sentimenatal.
Shot by legendary cinematographer Conrad Hall (Marathon Man, Fat City, the Professionals, Butch Cassidy, American Beauty) you actually smell and taste the sweat and heat dripping from the screen. The vast landscape and endless highways are used to communicate geographic dislocation and emotional emptiness care of obtuse camera set ups.
A complex script penned with depth and passion by Frank Pierson (Dog Day Afternoon) and Don Pearce allows the film to transcend the limits of a genre film and become a monumentally important work of fiction. Composed of rich character dialogue, much like a David Mamet screenplay the potency comes from what isn’t said.
The forever recycled score by Lalo Schifrin (Dirty Harry, Enter The Dragon, Mission Impossible, Bullitt) is the final peg that makes this slice of celluloid burn with palatable atmosphere.
Strong performances all round, there is a sense of reality that never wavers in any of the players.
Ingrained in the public eye with roles like Fast Eddie Felson (The Hustler), Brick (Cat On A Hot Tin Roof) and Hud, as in mate Lucas Jackson Paul Newman sealed his timeless appeal. The scene where he tries to rise above grief of losing his mother, banjo in his hand is one the most nuanced moments I have ever seen on screen.
George Kennedy (Thunderbolt and Lightfoot, Creepshow II, Death On The Nile, Boston Strangler) won the academy award for best supporting actor for his memorable part as Dragline.
Keep an eye out for a singing Harry Dean Stanton (Repoman, Wild At Heart) and a pre Easy Rider Dennis Hopper.
I grew up watching this with my dad and could not even take a guess at how many times I have seen it. As I get older I see so much more beneath the surface of Cool Hand Luke.
What initially was a cool prison film, over the year has become an influential example for me of incorporating important issues and studying the human condition, while remaining on the surface simple entertainment.
Just the sort of thing I want to write and put on camera.
The DVD
Transfer: Widescreen 2:35:1/Dolby Digital 1.0
Extras: Theatrical and Production Notes.
Unbelievable that this benchmark in cinema has no additional features, perhaps in the future it will receive the TLC it deserves.
Here is the scene I mentioned where Paul Newman sings “Plastic Jesus” just after he has been told of his mother’s death. Devastating performance.
Below you can check out the famous, buxom blonde car washing scene from the movie.
DVD Cover
Cinematographer:Conrad Hall
Writer:Don Pearce and Frank Pierson
Starring:Paul Newman, George Kennedy, Strothers Martin, Jo Van Fleet, Clifton James, Luke Askew, Dennis Hopper, Harry Dean Stanton,
“What we got here is…failure to communicate” - Captain
Powerful, inspirational and revealing, massively successful upon release the film influenced a generation and came to define the prison genre.
Tapping into the psychology of the tumultuous sixties, by the time he made Cool Hand Luke, Paul Newman was already an iconic antihero of the silver screen, the role of Lucas Jackson cemented it in stone.
Sentenced to a chain gang for the senseless crime of taking the heads off parking meters, Luke is a loner, bucking authority at every turn and refusing to conform to the system.
On the outside his stubborn disregard for rules makes him a loser. On the inside it becomes his strength. Taking everything that they throw at him, Luke’s flippant attitude initially sets him at odds with both the gaurds and the prisoners.
“Well that oughta be easy for a genuine son of a bitch.” - Luke
The bullying head inmate Dragline (George Kennedy) learns quickly that Luke is unbreakable and respects him for it. Picking cotton and paving roads, keeping his soul alive anyway he can, Luke seems unfazed by even the most brutal treatment.
“He was smiling... That's right. You know, that, that Luke smile of his. He had it on his face right to the very end. Hell, if they didn't know it 'fore, they could tell right then that they weren't a-gonna beat him. That old Luke smile. Oh, Luke. He was some boy. Cool Hand Luke. Hell, he's a natural-born world-shaker.” - Dragline
Refusing to adapt to life in a cage, constantly questing for freedom, old Cool Hand faces every challenge head on. Wether it’s taking the beating of his life in a prison yard boxing match, consuming 50 eggs or just enjoying the eye candy of a half naked woman washing here car.
“Yeah, well, sometimes nothin' can be a real cool hand.”-Luke
Gradually becoming an inspiration to all those around him, the prisoners begin to worship the laidback rebel and the screws start pushing harder, determined to destroy his spirit.
“(Praying) Anybody here? Hey, Old Man. You home tonight? Can You spare a minute. It's about time we had a little talk. I know I'm a pretty evil fellow... killed people in the war and got drunk... and chewed up municipal property and the like. I know I got no call to ask for much... but even so, You've got to admit You ain't dealt me no cards in a long time. It's beginning to look like You got things fixed so I can't never win out. Inside, outside, all of them... rules and regulations and bosses. You made me like I am. Now just where am I supposed to fit in? Old Man, I gotta tell You. I started out pretty strong and fast. But it's beginning to get to me. When does it end? What do You got in mind for me? What do I do now?” – Luke
Cmon boy, I am gunna win an Oscar for feeding you these eggs
Classic cinema that is deep and affecting. Speaking volumes about human nature and illustrating the misunderstood potential of those unable to adapt to the hypocrisy of modern society.
Director Stuart Rosenburg (Murder Inc, The Laughing Policeman, The Amityville Horror, Brubaker, Pope Of Grenwich Village) steers the film with a stern eye. This is tough and gritty, counter weighted with heart and genuine emotion that refeuses to get sentimenatal.
Shot by legendary cinematographer Conrad Hall (Marathon Man, Fat City, the Professionals, Butch Cassidy, American Beauty) you actually smell and taste the sweat and heat dripping from the screen. The vast landscape and endless highways are used to communicate geographic dislocation and emotional emptiness care of obtuse camera set ups.
A complex script penned with depth and passion by Frank Pierson (Dog Day Afternoon) and Don Pearce allows the film to transcend the limits of a genre film and become a monumentally important work of fiction. Composed of rich character dialogue, much like a David Mamet screenplay the potency comes from what isn’t said.
The forever recycled score by Lalo Schifrin (Dirty Harry, Enter The Dragon, Mission Impossible, Bullitt) is the final peg that makes this slice of celluloid burn with palatable atmosphere.
Strong performances all round, there is a sense of reality that never wavers in any of the players.
Ingrained in the public eye with roles like Fast Eddie Felson (The Hustler), Brick (Cat On A Hot Tin Roof) and Hud, as in mate Lucas Jackson Paul Newman sealed his timeless appeal. The scene where he tries to rise above grief of losing his mother, banjo in his hand is one the most nuanced moments I have ever seen on screen.
George Kennedy (Thunderbolt and Lightfoot, Creepshow II, Death On The Nile, Boston Strangler) won the academy award for best supporting actor for his memorable part as Dragline.
Keep an eye out for a singing Harry Dean Stanton (Repoman, Wild At Heart) and a pre Easy Rider Dennis Hopper.
I grew up watching this with my dad and could not even take a guess at how many times I have seen it. As I get older I see so much more beneath the surface of Cool Hand Luke.
What initially was a cool prison film, over the year has become an influential example for me of incorporating important issues and studying the human condition, while remaining on the surface simple entertainment.
Just the sort of thing I want to write and put on camera.
The DVD
Transfer: Widescreen 2:35:1/Dolby Digital 1.0
Extras: Theatrical and Production Notes.
Unbelievable that this benchmark in cinema has no additional features, perhaps in the future it will receive the TLC it deserves.
Here is the scene I mentioned where Paul Newman sings “Plastic Jesus” just after he has been told of his mother’s death. Devastating performance.
Below you can check out the famous, buxom blonde car washing scene from the movie.
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Comment by LaurenD
Great... another great review. Cheers, JD!
Thank you for reminding me what to dust off for the holidays. Perfect! This one and 'Papillon' (How do I look? Do I look ok? Cos i feel pretty good. I just need someone to tell me how I look) to feed my inner fugitive.
LaurenD
Comment by JohnDoe
Film & TV on DVD
Glad to remind you of the joys of Cool Hand.
Totally rank Pappilon too, Steve McQueen at his most complex.
Cooler kings both.
Comment by Adrian
Philosophy Blog
Comment by JohnDoe
Film & TV on DVD
That banjo scene is Paul Newman at his best.
Cool hand Luke ranks as one of those classic films that turns up in lists all the time as one of the greatest.
It also doesn't hurt that the sub text of the piece is littered with religious allegory that sees Luke as a Christ like figure.
Do yourself a favour and check it out over the holidays, it is a must see cinema.
Comment by Bryn
Horrorphile
Top work JD.
Comment by JohnDoe
Film & TV on DVD
Comment by Bryn
Horrorphile
Comment by Norm
Consumption Malfunction
Equal and Opposite
Arses and Elbows
Footy Power
What we got here....is a compelling movie.
Another good choice JohnDoe!
Comment by JohnDoe
Film & TV on DVD
Comment by Lilla
Enviro Warrior
An Extra Ordinary Life
Dream Herald
Can I just say that I think everything is cool about Paul Newman and this film... one of the best 'rebel' films made cheers for reminding me to fish it out, dust it off and play it again...
EGG
Comment by JohnDoe
Film & TV on DVD
Newman is one of the coolest kats ever in coolville and this be one the his iciest.
Definetly a fine time of year to visit old Lucas Jackson.
Tough to call Newmans finest but it would have to be between Cool hand, Eddie Felson, Brick and Hud for sure.
What is your favourite Paul Newman film?
Comment by Bryn
Horrorphile
Comment by JohnDoe
Film & TV on DVD
More recently Fort Apache, Hudsucker Proxy, Nobody's Fool and The verdict, one of the best, its like choosing a favourite child.
Comment by Bryn
Horrorphile
Nice voicework in Cars too.
Comment by JohnDoe
Film & TV on DVD
Have you seen the car racing movie he starred in called Winning? It was made around teh same time as James Garner's Grand Prix and Steve McQueen's Le Mans.
An epic that features alot of his own stunt driving.
Comment by Bryn
Horrorphile
(we're gonna lose Mr Newman in the next few years I fear ... )
Comment by Lilla
Enviro Warrior
An Extra Ordinary Life
Dream Herald
this is it, although I loved The colour of Money (?) and the one he made with his wife Joanne Woodward which was okay... I can't remember what it was called..?
I liked his characters you mention, probably in that order too...
yes, an era will go with him and it will be terrible to loose him...
Lilla...
Comment by JohnDoe
Film & TV on DVD
But, lets not think about loosing the lean, blue eyed one. (wink)
He may have disappeared from films but his charity work and racing is what always defined him. Tragic about his son.
The film he did with his wife that most people remember is William Faulkner's The Long Hot Summer. Made in 1958 and Directed by the equally legendary Martin Ritt.( The director and Newman collaborated on LHS, Hud, The Outrage and Hombre.)
Im a huge fan of the film and think that Newman and Woodward are two of the great screen couples of all time. A scorching classic that oozes all the sexuality and dramatic tidal waves of a Tennessee Williams play.
Husband Paul Newman Directed his wife in Rachel, Rachel too.
Always great chatting to another fan of the man.
Comment by Anonymous
It has been confirmed that Paul Newman and Robert Redford will indeed be coming together again. A contact of mine told me that shooting on their new film 'A Walk in The Woods' is happening next November, 2007.