RIOT (1969)

Title: RIOT

Year of Release: 1969

Director: Buzz Kulik

Genre: Drama

Synopsis: In an Arizona prison, inmates attempt to break out of jail by initiating a riot, which has violent results.

Within a film history context: Films about prison riots, or in similar correctional facilities, have been present in cinema since the 1930s. One of the first to deal with the topic was George W. Hill's THE BIG HOUSE (1930). Romance and emotions boil over in the story about how a jailed man falls for his cellmate's sister, and becomes involved in a prison riot. In a much more comical vein was PARDON US (1931), directed by James Parrott, with Stan Lauren and Oliver Hardy placed in the Big House after selling liquor to a policeman during Prohibition. This Laurel and Hardy vehicle has a mild prison riot in keeping with the nature of the material, and the comedians' past work, but is notable for both the theme, and their participation. Different in nature was Lew Landers' CONDEMNED WOMEN (1938). A young shoplifter begins a romantic relationship with her prison psychiatrist, but when told to end this, she becomes part of a jail riot in retaliation. The film is interesting as it featured a female prisoner as the lead character, ably portrayed by Sally Eilers, with Louis Hayward as the presentable doctor. 

REFORMATORY (1938), directed by Lewis D. Collins, took matters in another direction. The death of a young boy is the impetus for a change in a reformatory's management, with a new man taking the reins. Poor conditions at the reformatory cause the inmates to riot, and the new man institutes changes to bring about peace in the facility. The kindness of this man comes under fire when a number of unexpected incidents occur, placing his management of the reformatory under the spotlight. On the other hand, Jules Dassin's BRUTE FORCE (1947) followed the power struggle between a prisoner and the ruthless chief guard. Tensions rise which result in a violent prison riot with deadly consequences. Starring Burt Lancaster, with a cast including Hume Cronyn, Charles Bickford and Yvonne De Carlo, it was an example of this director's great works. The 1950s had further varied depictions of prison riots for audiences to ponder.

CAGED (1950), directed by John Cromwell, was a woman in prison film which were periodically featured in the 1950s, particularly in exploitation cinema, but was, in this instance, a Warner Brothers production. It was about a young woman involved in a shoplifting incident which goes very wrong, but has a prison riot related to a kitten that causes anguish for the main character. Don Siegel's RIOT IN CELL BLOCK 11 (1954) was most in sync with the prison riot theme, with poor living conditions at a jail inciting a riot amongst inmates, and issues with the prison hierarchy. Helmed by Don Siegel, famous for DIRTY HARRY (1971, it was another example of his daring movies. THE GREEN-EYED BLONDE (1957), directed by BERNARD GIRARD, shared similarities to REFORMATORY by manner of its reformatory setting, and CAGED, in that a female character was involved. Where the film moved away from others was in that it focused upon intrigue in the facility, especially how a kidnapped baby causes a riot in the institution, with tragic repercussions. R.G. Springsteen's REVOLT IN THE BIG HOUSE (1958) delved into the planning of a prison riot and consequent escape, but differed in that one of the participants harboured reservations about the plan. It was similar to both BRUTE FORCE, and RIOT IN CELL BLOCK 11, in the behind the scenes view of a prison riot. The 1960s also had several movies which explored the prison riot theme.

SO EVIL, SO YOUNG (1961), directed by Godfrey Grayson, was the story of a young girl in a reform school framed for a crime with which she had absolutely no involvement, and included a short prison riot sequence. The separation of a mother and her child was the main element in Crane Wilbur's HOUSE OF WOMEN (1962). In this movie, a falsely accused woman is in jail, and gives birth to her child, but the cruel prison rules enforce the baby to be taken away from her, which provokes a riot on the part of her fellow inmates. With a cast including Shirley Knight in the lead role, supported by Constance Ford, Jeanne Cooper and many others, it was a showcase for these talented actresses. THE LONELINESS OF THE LONG DISTANCE RUNNER (1962), directed by Tony Richardson, also showed a brief riot scene, this time set inside a reformatory for young men. RIOT, in comparison to these movies, was a film where the prison riot took up a great deal of screen time, the director exploring this incident in detail.

As in RIOT IN CELL BLOCK 11, RIOT's characters rail against poor conditions in the jail, and, similar with the latter movie, the expected prison riot occurs. There are also shades of BRUTE FORCE present in RIOT such as the standoff between prisoners and jail workers. In many of the above films, prison officials were painted as either being black or white, without shades of gray in between. In RIOT the prison hierarchy was not presented as totally evil as such, there were some caring individuals in the prison who were sympathetic to the prisoners, which gives the film another dimension instead of falling into the trap of goodies versus baddies. Where RIOT also diverts from other movies, though, is in its violent content. While not exploitative, the violence is difficult to watch at times, but is realistic in tone and nature. The clashes between both prisoners, and prison officers is handled in an eye-opening manner, but not with a view to glamorise violence. This was allowable with the breakdown of film censorship at this time in film history, with this film deservedly rated 'R' for its content. The film was also interesting for other points which are outlined below.

RIOT was noteworthy as it did not feature a romance angle in the film to soften its often tough context. There were no women present in RIOT's jail setting, as in the later FORTUNE AND MEN'S EYES, which would have detracted from the action in the movie, with its concentration on the prisoners and their escape plan. RIOT does show something which is both surprising but also, makes sense for the movie. In RIOT there was a privileged view into Cully's life before imprisonment, particularly his love life. This provided the main character with an understandable reason for wanting to escape, but also, gives added nuance to Cully's psychological makeup for the viewer. Apart from this point, RIOT was also notable for another reason.

Homosexuality was on view in RIOT, to the extent that there was several gay characters, and a striptease sequence performed by a male character in drag. It was interesting as there were several characters present during this segment who appeared to be heterosexual, with a play on this issue which has been explored much more in later films such as FORTUNE AND MEN'S EYES. This particular film took matters much further with an openly gay character in a lead role, not in a supporting capacity as in RIOT. It is also interesting that FORTUNE AND MEN'S EYES also features a male in drag masquerading as a woman, in its case, for the prison show, but has glimpses of full male nudity that RIOT did not present. While FORTUNE AND MEN'S EYES had homosexuality as a driving force in the narrative, including openly suggestive situations, dialogue, and male rape within  its diegetic world, in RIOT it was more of a sideline rather than the main issue. The prisoners' escape was always the burning issue, and what consumed both the characters, and the film itself. One of the best films made in a prison milieu, RIOT is a movie that compels with its measured presentation, and attention to detail in all aspects.

Overview: Buzz Kulik was a director with a deep number of television series and telemovies to his credit, with nine motion pictures bearing his name. His first movie, THE EXPLOSIVE GENERATION (1961) was a risqué, for the time, story about a high school teacher attempting to teach sex education classes to his pupils. With a cast including a young William Shatner and Beau Bridges, and veterans such as Virginia Field and Phillip Terry, it was an interesting experiment for the first time director. Next came THE YELLOW CANARY (1963). Starring Pat Boone as a rock singer whose child is kidnapped, with the kidnappers playing games with the police officer assigned to the case, it is mainly notable for featuring Mr Boone in a less than sympathetic role. 1967 brought Mr Kulik the suspenseful WARNING SHOT. An illustrious cast including David Janssen as the policeman whose fate lies in the balance without an incriminating weapon, supported by Ed Begley, Lillian Gish, and Eleanor Parker, the film was a move upwards for the director. SERGEANT RYKER (1968) was an espionage and suspense war film set during the Korean War, and a further example of Mr Kulik's comfort with thriller themes. 

Next came VILLA RIDES (1968) a western set in Mexico, with Yul Brynner as Pancho Villa, the Mexican revolutionary figure. A chance to do comedy made itself available in TO FIND A MAN (1972) with some nods to topical issues. A young man tries his best to help his young acquaintance with an abortion, the two making a warm, but sometimes tenuous connection. With Pamela Sue Martin as the torn young woman, and Darren O'Connor as her well-meaning friend, it was a change of pace for the director. It was back to action and excitement in SHAMUS (1973). One of Mr Kulik's best known vehicles, it centred around the eponymous private detective who is assigned on a special case; for the owner, either find the stolen diamonds, or the killer of the burglar. It was a fast-moving, humorous ride that provided Burt Reynolds, and Dyan Cannon, with excellent roles. Mr Kulik's final film, THE HUNTER (1980). was also Steve McQueen's last role, in a action movie about a man being threatened by a criminal he handed over to justice, with his personal life also on view. RIOT was in keeping with Buzz Kulik's action directorial slant, but this time, set in a maximum security jail.

It was a film, as with his others such as THE EXPLOSIVE GENERATION and SERGEANT RYKER, which had the courage of its convictions, not shying away from difficult or controversial subjects. There was no toying with matters in Mr Kulik's films, he always got down to business, which made his films both forthright, and refreshing to watch. RIOT also shared the suspenseful framework that made his films so compelling, most akin to WARNING SHOT in its careful execution. There is a painstaking attention to detail and plot events which add up to a cohesive whole, and a satisfying product for the viewer. What also made RIOT so successful, though, and something which differentiated it from other movies of its type, was its lack of melodrama. While there were many scenes of mayhem and violence in the film, these were borne out of pre-existing events and character actions, and not trumped up just for the sake of spectacle. Additionally, other facets of RIOT made it stand out in comparison to other films with a jail riot theme. 

The interactions between the characters are another highlight, the director and writers making their motivations clear for the audience to interpret, and understand. It is not a case of stereotypes just going through the motions, the characters have a depth to them, with particular mention to the two lead protagonists. While they control the majority of the action, they are also supported by peripheral characters who have a place in the film. Having a black, and white character as best friends, seeing each other as equals, is another striking element to RIOT. The race angle, whereby black versus white, and the difficulties that emerge out of this, has not been utilized in the movie, and all the better. The two characters share a moving, credible partnership that is all the more memorable as the last few scenes unravel. For these reasons, RIOT is one of Buzz Kulik's most interesting films, also one of the best films with a prison setting to come out of Hollywood, and a credit to the director as a whole.

Acting: The performances is one of the reasons why RIOT works so well as a convincing motion picture. Jim Brown is splendid as the thoughtful Cully, a man of action but also, integrity, whose passion carries the film. A man with not only a physical but also, a charismatic presence on screen, Mr Brown brings his Cully to life with his distinctive earthy persona. Gene Hackman is also great as Red Fraker, Cully's associate, with whom they share a friendly, but at times fraught relationship. The combination of Mr Brown and Mr Hackman works exceedingly well in RIOT, their unexpected chemistry giving the film vitality and depth. The final actor of note is Ben Carruthers, as the unhinged, unpredictable Surefoot. An actor for whom RIOT, unfortunately, was one of his last films, here he gives it his all, making viewers wonder what went so wrong for Surefoot, making him so extreme in his actions.

Soundtrack: RIOT's theme music is played at both the beginning, and the end of the film, with some pieces of the tune featured throughout the movie at key intervals. Composed by Christopher Comeda and sung by Bill Medley, it is a haunting song which perfectly encapsulates the film's solemn, pensive mood.

Mise-en-scene: RIOT has much outdoor location shooting at a real prison in Arizona which gives the film punch. Scenes such as the many confrontations between prisoners and prison officials, perched above with guns ready to fire, sequences of inmates working in the searing heat, to name a few examples, could not have been as realistically depicted in a studio. Indoor scenes are also excellent, the action moving from cells to mess hall, offices and tunnels with ease. The colour cinematography by Robert Hauser is subdued in tone, appropriate to a film whose subject is lacking in glamour, giving a calming effect, thereby emphasizing the sharpness of the jail, and the outdoor locations.

Award-worthy performances in my opinion: Jim Brown, Gene Hackman, Ben Carruthers.

Suitability for young viewers: No. Male nudity, adult themes, high-level violence.

Overall Grade: B

Link: IMDB Page