Year of Release: 1971
Director: Harvey Hart
Genre: Drama
Synopsis: A naïve young man is sentenced to six months in jail for a crime, witnessing prison horrors first hand, but becomes corrupt, and pays the price for his change in nature.
Within a film history context: Films which have been set in jail or in detention, featuring male prisoners are a cinematic staple over the course of film history. One of the earliest examples is Mervyn LeRoy's I AM A FUGITVE FROM A CHAIN GANG (1932) with its depiction of a wrongly-accused man and his inhumane treatment in a chain gang. Further films with a prison theme include Don Siegel's RIOT IN CELL BLOCK H (1954) with its prison riot storyline. Similar to this, though more explicit in its violence was Buzz Kulik's formidable RIOT (1969). More notable films with a prison setting include Alan Parker's moody MIDNIGHT EXPRESS (1978), with its intimation of homosexuality in jail, and Alan Clarke's SCUM (1979) which was centred around a juvenile detention centre.
FORTUNE AND MEN'S EYES, as with the other films from the 1950s, 1960s and 1970s, but unlike I WAS A FUGITVE FROM A CHAIN GANG, did not feature prisoners being forced into hard labour, instead just inhabiting their cells. Where the film diverged from the other examples was in its intimate portrayal of the four prisoners, and how they reacted not only to each other but also, to their enforced detention. It also had explicit homosexual overtones and depicted male rape which the other films only touched upon, with the exception of sexual violence in SCUM. On the other hand, FORTUNE AND MEN'S EYES could be said to be more tightly character-driven in nature, and its violence was not as detailed as the later MIDNIGHT EXPRESS.
Within a film history context: Films which have been set in jail or in detention, featuring male prisoners are a cinematic staple over the course of film history. One of the earliest examples is Mervyn LeRoy's I AM A FUGITVE FROM A CHAIN GANG (1932) with its depiction of a wrongly-accused man and his inhumane treatment in a chain gang. Further films with a prison theme include Don Siegel's RIOT IN CELL BLOCK H (1954) with its prison riot storyline. Similar to this, though more explicit in its violence was Buzz Kulik's formidable RIOT (1969). More notable films with a prison setting include Alan Parker's moody MIDNIGHT EXPRESS (1978), with its intimation of homosexuality in jail, and Alan Clarke's SCUM (1979) which was centred around a juvenile detention centre.
FORTUNE AND MEN'S EYES, as with the other films from the 1950s, 1960s and 1970s, but unlike I WAS A FUGITVE FROM A CHAIN GANG, did not feature prisoners being forced into hard labour, instead just inhabiting their cells. Where the film diverged from the other examples was in its intimate portrayal of the four prisoners, and how they reacted not only to each other but also, to their enforced detention. It also had explicit homosexual overtones and depicted male rape which the other films only touched upon, with the exception of sexual violence in SCUM. On the other hand, FORTUNE AND MEN'S EYES could be said to be more tightly character-driven in nature, and its violence was not as detailed as the later MIDNIGHT EXPRESS.
Overview: Harvey Hart was a Canadian-born director who made eleven features in his career, beginning with BUS RILEY'S BACK IN TOWN (1965), and concluding with UTILITIES (1983). Mr Hart had a reputation for tackling challenging subjects through his filmmaking, variously exploring topics such as older man/younger woman relationships in BUS RILEY'S BACK IN TOWN, beach bums and bikers in THE SWEET RIDE (1968), prostitution and Satanism in THE PYX (1973), and drug dealing in THE HIGH COUNTRY (1981). FORTUNE AND MEN'S EYES, Mr Hart's fourth motion picture released in 1971 was no different, again focusing upon a difficult subject.
FORTUNE AND MEN'S EYES explores a number of characters in a jail, explicating their experiences of life behind bars for the viewer. Men in jail is a subject which Mr Hart treats bravely and with honesty, as witnessed by his focus upon the central quartet of characters, showing them from all angles. While it could be said that some of his protagonists slightly resemble stereotypes, the acting which he elicits from his cast takes away from this assumption. While FORTUNE AND MEN'S EYES was adapted from a stage play of the same name the film is not stagy in any way, the director deftly moving the action from the cell which the four main characters inhabit, to other locations in the jail.
The director has included many revealing and eye-opening scenes of prison life such as male rape, violence and death which thankfully do not last too long on screen, but whose realism is still pungent. While these are important parts of the film, the scenes of attempted humour such as the episodes where prisoners tip buckets on water from above on other prisoners dent the emotional punch of some of its most intense stretches. These forays into dark comedy do not assist the film, only denting its impact, and could have been easily excluded. Despite these faults, this is a stark, uncompromising film which at times can be painful to watch. In the final analysis, FORTUNE AND MEN'S EYES should be lauded for attempting to intimately examine a social issue in all its grittiness.
FORTUNE AND MEN'S EYES explores a number of characters in a jail, explicating their experiences of life behind bars for the viewer. Men in jail is a subject which Mr Hart treats bravely and with honesty, as witnessed by his focus upon the central quartet of characters, showing them from all angles. While it could be said that some of his protagonists slightly resemble stereotypes, the acting which he elicits from his cast takes away from this assumption. While FORTUNE AND MEN'S EYES was adapted from a stage play of the same name the film is not stagy in any way, the director deftly moving the action from the cell which the four main characters inhabit, to other locations in the jail.
The director has included many revealing and eye-opening scenes of prison life such as male rape, violence and death which thankfully do not last too long on screen, but whose realism is still pungent. While these are important parts of the film, the scenes of attempted humour such as the episodes where prisoners tip buckets on water from above on other prisoners dent the emotional punch of some of its most intense stretches. These forays into dark comedy do not assist the film, only denting its impact, and could have been easily excluded. Despite these faults, this is a stark, uncompromising film which at times can be painful to watch. In the final analysis, FORTUNE AND MEN'S EYES should be lauded for attempting to intimately examine a social issue in all its grittiness.
Acting: The acting in this film is largely above-average, with several striking performances. Wendell Burton as Smitty, the film's main character does well with the material, making his transformation from victim to victimizer believable, despite some lapses in the film's continuity. He has a way about himself that indicates the character's fright at being jailed, and his general discomfort at being thrown into jail evident to the viewer. Mr Burton also looked like someone who would possibly find themselves in a difficult predicament, his clean-cut good looks initially typing him as the pure innocent, which is eventually shattered as the film progresses. Danny Freedman, as the hen-pecked, sensitive Mona, also delivers a believable performance, and his final few scenes with Wendell Burton are extremely moving, and exhibit tremendous chemistry between the actors. Mr Freedman is also highly proficient in earning audience sympathy as the helpless rape victim, his whimpering haunting as he is set upon by the other prisoners. There is, though, one performance which stands out in particular in FORTUNE AND MEN'S EYES for its sheer excellence.
The film's best performance is by David Zooey Hall as the charismatic, sexually ambivalent Rocky, Smitty, Mona, and Queenie's jail roommate. From his first scenes in FORTUNE AND MEN'S EYES, Mr Hall projected an assurance, a quiet sensuality, teamed with a danger that made him someone you could not move your eyes away from whenever he was on screen. Mr Hall was reminiscent of method actors such as Marlon Brando who have attended the Actors Studio, so poised was his performance, despite playing a character who could be alternately protective, and nefarious. On the other hand, Michael Greer as Queenie delivered a good performance, especially in the final few scenes, but his character was abrasive, and annoying at times, with a shrill voice that sometimes took away from the film's thoughtful and somber tone. The last segments redeemed him somewhat, showing that the character was indeed manipulative, and more than just a walking drag show.
The film's best performance is by David Zooey Hall as the charismatic, sexually ambivalent Rocky, Smitty, Mona, and Queenie's jail roommate. From his first scenes in FORTUNE AND MEN'S EYES, Mr Hall projected an assurance, a quiet sensuality, teamed with a danger that made him someone you could not move your eyes away from whenever he was on screen. Mr Hall was reminiscent of method actors such as Marlon Brando who have attended the Actors Studio, so poised was his performance, despite playing a character who could be alternately protective, and nefarious. On the other hand, Michael Greer as Queenie delivered a good performance, especially in the final few scenes, but his character was abrasive, and annoying at times, with a shrill voice that sometimes took away from the film's thoughtful and somber tone. The last segments redeemed him somewhat, showing that the character was indeed manipulative, and more than just a walking drag show.
Soundtrack: The use of the theme song in FORTUNE AND MEN'S EYES composed by Galt MacDermot at both the film's introduction, and at its conclusion provides a bittersweet commentary on the action which is to take place. Apart from this, there is minimal use of music, except for several instances such as the water fight in the eating hall which add a pseudo-comical feel to the action. This is par for the course for many 1970s films, which preferred a lack of music score or musical accompaniment to the onscreen action to allow what is happening to take precedence for the audience.
Mise-en-scene: FORTUNE AND MEN'S EYES was filmed in an actual jail, and this assists it tremendously in creating an authentic atmosphere for the viewer. One aspect that was striking about the film was that it was well lit, something which one would expect to be the opposite in terms of a dreary, depressing ambiance. This works in the film's favour as it allows the viewer to see the character's faces clearly, and their reactions to what is taking place, without mood lighting to create an artificial atmosphere. The beginning of the film is also noteworthy, with the bitterly cold winter in which Smitty and the other prisoners are transported into jail a metaphor for his chilling experience later in detention.
Award-worthy performances in my opinion: David Zooey Hall, Wendell Burton, Danny Freedman.
Award-worthy performances in my opinion: David Zooey Hall, Wendell Burton, Danny Freedman.
Suitability for young viewers: No. Male nudity, frequent coarse language, adult themes, medium-level violence, sexual violence.
Overall Grade: C
Link: IMDB Page
Trailer
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