Film "Iron Curtain Blood/Cold Hand Luke" (1967) American Blu-ray Edition cover
Hollywood in the late 1960s was engaged in a system-wide "self-reforming" that corresponded to the civil rights movement, anti-war movement, and sexual liberation movement that were in full swing in American society during this period.
Eleven years after james Dean James Dean (1931-1955), Montgomery Clift (1920-1966) also died of a heart attack at home on July 23, 1966, when "good girlfriend" Elizabeth Taylor Elizabeth Taylor (1932-2011) sent a wreath, and Montgomery Creft's last film, "Good Girlfriend" Elizabeth Taylor (1932-2011), sent a wreath, and Montgomery Creft's last film, The Defector (1966) was released nationwide on October 20.
From left: Posters for the films A Countess from Hong Kong (1967), Hombre the Wolf (1967) and Reflections in a Golden Eye (1967).
Spring Supper / Who's Afraid of Virginia Wolfe? Who's Afraid Of Virginia Woolf? (1966) gave Elizabeth Taylor its most intense shine in 1966, while Audrey Hepburn's (1929-1993) How to Steal a Million (1966) received a good response in the market.
Marlon Brando's (1924–2004) films, Sheriff Cade The Chase (1966) and Abalusa/The Appaloosa of the Great West (1966), were neither at the box office as Paul Newman's (1925–2008) films Hellhead Harper (1966) and Torn Breaking the Iron Curtain Curtain》(1966)。
Paul Newman's image from the film The Curtains/ Cold Hand Luke (1967).
By 1967, Marlon Brando and Paul Newman had both released two films.
Charles Chaplin (1889-1977), the "great master of comedy", directed the last film "A Countess from Hong Kong" (1967), was originally thought to be starred by Marlon Brando and Sophia Roland, which would have a double harvest in the critics and the market, but became a "squib" after "going out of the street"; "Forbidden House/ Image of Reflections in Golden Eyes" in a Golden Eye (1967) was originally originally put by Elizabeth Taylor to let Montgomery Creft play the male lead, but because Montgomery Creft was in poor health at that time, he had no choice but to be replaced by Marlon Brando, and this twisted gay film was basically "ignored" that year, and also opened up Elizabeth Taylor's "downhill road".
Image from the film Behind Bars/ Cold-Handed Luke Cool Hand Luke (1967).
Paul Newman's two films released in the United States in 1967 were the Western action film Humble (1967) and the crime film Iron Curtain/Cold Hand Luke (1967), especially "Iron Curtain Blood" was not only a commercial success, but also received critical acclaim, and even newspapers directly described him as "the touchstone of an era" with the title of "The Coming of Paul Newman's Age".
After reading the article, Marlon Brando privately dismissively told his friends that Paul Newman was a "mere green light ornament."
In fact, Marlon Brando and Elizabeth Taylor both made the same mistake, neither of them embraced the New Hollywood movement, and I still maintained the old-school "film selection vision" and lacked "enthusiasm" for new changes.
In August 1967, "The Hermaphrodites/ We Don't Have Tomorrow Bonnie and Clyde" and in November, "Iron Window Blood" were launched successively, so that American audiences felt that individuals were waiting to be slaughtered under the gun of the "forced state apparatus", and the pursuit of "equality", "peace" (Luke's war background), "sexual liberation" (the lens of the car girl and Luke's mermaid tattoo) and other zeitgeist spirits were displayed in "Iron Curtain Blood". Let them affirm the search and identification of this self-identity in the movie.
The criminal Luke (Paul Newman) offers more thought to everyone with a seemingly simple and straightforward story of rebelling against authority in prison.
Stills from the film Behind Bars/Cold-Handed Luke Cool Hand Luke (1967), Dennis Hopper (left) and Lou Antonio Antonio
The film has at least three levels, the deepest of which is probably the most interesting. Convict Luke, a Vietnam Veteran and a Medal veteran, begins to find himself bored with life. So, one night he drank too much, and then took advantage of his drunkenness to tear down the town's parking timer. The destruction of public facilities resulted in a two-year prison sentence.
The 50 prisoners, counting the days, were placed in collective labor under the eyes of the fierce-eyed chief (Strother Martin), and Booth Goldfried (Morgan Woodward), who never let them see the eyes, and the sunglasses gave him the nickname "The Eyeless" (he didn't even speak, which made his image even more of a scary symbol).
Morgan Woodward Image by Morgan Woodward in the film The Curtains/ Cold-Handed Luke Cool Hand Luke (1967).
At first, Luke seems to be a more obedient prisoner—taciturn, polite, and isolated. However, when he and the prison boss Dragline (George Kennedy George Kennedy) have a disagreement leading to a boxing match, Dragline because he is much larger than Luke, the result is that Luke is unable to fight back, but Luke has always refused to give in, and his stubbornness has earned him dragline's respect.
In the poker match in prison, Luke repeatedly won, getting the name "Cold Hand Luke". He was encouraged by the visit of Luke's mother and nephew, who was hopeful about the future despite the harsh environment and inhuman treatment he endured in prison.
During the tedious weeding process, Luke led everyone to complete the day's work early and enjoyed two hours of freedom. When he received news of his mother's death, he tried unsuccessfully to escape from prison, and each time he returned to prison, Luke was under greater surveillance than before. This only stirs up Luke's desire to escape again.
The warden's ruthlessness and ruthlessness did not bring Luke to power and institutions, and luke was eventually shot and killed by the guards.
The "rope" that escaped with him was taken back to prison, replacing Luke as a hero among prisoners.
Image by George Kennedy (second from left) in the film Behind Bars/ Cold-Handed Luke Cool Hand Luke (1967).
I don't know when jailbreaking, a highly antisocial act of rebellion, began to speak for a particular film genre. Prison break movies became a special intersection between thrillers, action movies, and even suspense films.
The prison, as the representative of the "coercive state apparatus", its own deprivation of liberty also gives the protagonist the mission of breaking the chain and regaining freedom.
When the protagonist Luke finally succeeds in rebelling against the "forced state apparatus", the psychological satisfaction of the audience lies in the subconscious completion of the rebellion against the "ideological state apparatus" through the medium form of film.
The prison escape movie model has also been established: the protagonist who has been wrongfully imprisoned, the prison guard who is flying high, the prisoners of all kinds, the courage and wisdom of the protagonist, and most importantly, the preparation, action and results of the escape.
The difference in the object of rebellion is also an important criterion for distinguishing prison break movies. For example, the German barracks in The Great Escape (1963) and the Turkish prison in Midnight Express (1978) are heavily ideologically branded, while The Shawshank Redemption/Stimulation 1995 The Shawshank Redemption (1994) downplays the context of the times and emphasizes the universal proposition of "freedom".
Poster for the Japanese version of the movie "Iron Curtain Blood/Cold Hand Luke" (1967).
Shawshank Prison can be in the United States or any country in the world, and Andy's encounter is also something that everyone can encounter. That's where the cleverness of The Shawshank Redemption comes in, and it became the world's greatest utopian film.
If you look at "Iron Window Blood" purely from the narrative level, it is nothing more than a prison version of the story of Odyssey's tribulations. In fact, the film also spawned the genre of crime comedy, with Eddie Murphy's Life/Life (1999) being the most memorable — or black version of "Shawshank Redemption."
At a deeper level, "Cold-Handed Luke" is a metaphor for its embryonic social climate. Luke represents a new group of people who, no matter how humble they are "oppressed," will never give in. They are constantly getting back on their feet, not only convinced that their actions are correct, but also convinced that they themselves can ultimately make a difference.
If the film had been released a decade ago or a decade later, that aspect would have been lost. But in the rapidly growing civil rights movement of the 1960s, this was precisely a force to be reckoned with.
Joy Harmon's image from the film The Curtains/ Cold-Handed Luke Cool Hand Luke (1967).
Luke's famous quote , "Our problem is the failure of communication, shows that communication between a strong society and a weak individual cannot take place. In the 1960s this phrase can be said to be the voice of a generation of rebellion. Failures in communication between people and others, failures in communication between people and themselves, failures in communication between people and God, all problems seem to be caused by poor communication.
While the film as a whole is serious, it also contains visual humor. There are a few scenes that make an unforgettable impression. The first scene involves a young woman (Played by Joy Harmon) who likes to play tricks on a group of hard-working, sweaty criminals. As they worked on the side of the road, she washed her car once, while making sure her "cool" clothes were also completely soaked.
Later in the film, Luke bets his cellmates on 50 eggs in an hour, and he does, from sitting, to standing, to being dragged to eat, to lying down.
When Luke finished eating the eggs and lay down on the table, his posture was like Jesus on the cross. Yes, his image is that of the Savior. But watching Luke endure torture is also an interesting experience.
In 1968, "Behind bars" received four nominations at the 40th Academy Awards and the fourth time Paul Newman was nominated for the Academy Award for Best Actor, but the only winner of the film was George Kennedy (1925-2016), the Academy Award for Best Supporting Actor.
Stills from the film Behind Bars/Cold-Handed Luke Cool Hand Luke (1967), George Kennedy (left) and Paul Newman Newman
Unfortunately for George Kennedy, a prolific actor, he was probably best known for starring in International Airport Airport (1970), which represented a career peak. Dragline is a very realistic character, and George Kennedy himself is always running away from the "tough guy" genre, which ultimately comes down to being neither as tough or as independent as we initially thought.
Strother Martin (1919–1980) was not officially recognized for his performance as warden, but his work has spread through the film industry. Although Strother Martin was considered one of the finest actors of the 1950s and 1960s, he never won an Oscar.
Joe Van Fleet, who won the 28th Academy Award for Best Supporting Actress for East of Eden (1955), played Luke's dying mother in a role that is memorable despite her minor role. Her death represents a turning point for the film. Luke decides to run away if he is not unjustly held in solitary confinement so that he does not want to attend his mother's funeral.
The director of "Blood in the Window" was Stuart Rosenberg (1927-2007), who used the photographic means of montage to pioneer the expression of future social violence films, and Stuart Rosenberg had been filming television before shooting the film. "Blood in the Window" undoubtedly represented the pinnacle of his career, and his best-known film after that was Voyage of the Damned (1976).
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