Review #920: 'Brute Force' (1947)

When Jules Dassin was placed on the Hollywood Blacklist in 1950 during the making of Night and the City, the director was on a roll. Along with Night and the City, which he filmed before being banned from the production studio, bringing his flourishing career to an immediate halt, Dassin also made The Naked City (1948) and Thieves' Highway (1949), now classics of the noir genre, and Brute Force, possibly the weakest of his noir quartet but a thrilling, insightful film nonetheless. Although set entirely inside prison walls - with a few flashback cutaways - Brute Force is pure pulp noir, featuring a towering lead performance from Burt Lancaster and a tour de force by Hume Conyn as the film's main antagonist.

Joe Collins (Lancaster) has just done a stint in solitary. Being lead back to his cell by chief of security Captain Munsey (Conyn), Joe maintains his innocence and that the knife he was found with was planted on him. It turns out that Joe is indeed innocent of his alleged crime, and along with his friends from cell R17, knows who the culprit is. Their own brand of justice involves guiding the offender with flame-throwers onto a huge plate press while the guards are distracted by a brawl. With so much violence occurring inside the prison walls, Warden Barnes (Roman Bohnen) is put under pressure to control the inmates through strict discipline and the guards enforcing their authority. This catches the attention of the ambitious Munsey, and the likeable Dr. Walter (Art Smith), who although constantly inebriated, can see the bubbling tensions and inevitable explosions of violence that are due to come.

The film's title is suitably apt for the attitudes of the two opposing factions. Joe and his crew plan their escape by taking the prison with an arsenal of weapons at their disposal, while Munsey, using the warden's wavering support as an opportunity to rise through the ranks, starts to manipulate the prisoners into becoming informers and gleefully beating upon a prisoner when he refuses to talk. It's about the ugliness of brute force, and disastrous results that come from employing it. Munsey is a small man, but delights in imposing his authority on the weak and the restrained like a bullying victim getting revenge on the big boys who stole his lunch money. It's riveting throughout, but could have done without the flashback scenes, where it is revealed that the gang are all locked up as a result of some femme fatale or other. It builds to a ferocious climax, where the inmates fight the guards, ending on a note as suitably grim as it's portrayal of the durability of the prison system.


Directed by: Jules Dassin
Starring: Burt Lancaster, Hume Cronyn, Charles Bickford, Art Smith, John Hoyt
Country: USA

Rating: ****

Tom Gillespie

Review #573: 'When Worlds Collide' (1951)

Though the great space race between America and the U.S.S.R. was still a number of years away, the fact that space travel was a real possibility fuelled audiences desire for sci-fi that was rooted in scientific theory. I emphasise the word theory as the science behind the Golden Age of sci-fi was generally rather loopy, though the films were happy to make heroes of scientists. They were no more self-isolated lunatics cooking up destructive experiments or digging up corpses to make a monster, but wise, goateed intellectuals, or square-jawed protégées capable of saving humanity from any potential threats. Of course, the 1950's mainly gave us rubber-suited aliens or giant, mutated monsters, but there were a few directors and producers that were aiming to give the audience a more satisfying, thoughtful experience, such as Rudolph Mate's When Worlds Collide.

After scientists discover that there are a pair of rogue planets hurtling towards Earth, pilot David Randall (Richard Derr) is given the task of delivering the information to New York for further research. When Dr. Cole Hendron (Larry Keating) confirms the fear, the news is brought to the attention of the United Nations, where they are laughed out as crackpots. It is believed that the first planet will pass so close to the Earth, it will cause devastating damage, only return from its orbit of the Sun to destroy Earth completely. With the help of Sydney Stanton (John Hoyt), who provides the funds, Hendron and his colleagues begin work on a spacecraft that will transport a small band of survivors to the second planet, which they believe is habitable and will remain on a stable orbit.

Rather than giving us special-effects filled set-pieces or killer aliens, When Worlds Collide entirely focuses on humanity's reaction to potential catastrophe. The story is an obvious parable of Noah's Ark, with God venting his fury upon the Earth he saw as fallen into sin, and this theme comes to fruition near towards the end as a lottery-system is drafted to choose who stays and who goes, with the inevitable violent rebellion of those facing death. This harsh depiction of the human race was the most intriguing idea the film had, which makes it sad that the film-makers failed to capitalise on it, instead focuses on a dull love story between Randall, Hendron's daughter Joyce (Barbara Rush) and Dr. Tony Drake (Peter Hansen).

The film was successful and went to be hugely influential in the genre, but it is held back from being anything great by some gaping plot-holes, lazy plot devices, and some erratic special effects. It took home to Academy Awards for Special Effects, but the new world reveal at the climax is a rather hastily painted backdrop, ruining any sense of wonder the ending may have provided. There is plenty of fun to be had with When Worlds Collide and gave many future writers and directors to think about, but producer George Pal funded better and more satisfying sci-fi in The War of the Worlds (1953) and The Time Machine (1960).


Directed by: Rudolph Maté
Starring: Richard Derr, Barbara Rush, Peter Hansen, Larry Keating, John Hoyt
Country: USA

Rating: ***

Tom Gillespie