HOOSIERS (1986)

Title: HOOSIERS

Year of Release: 1986

Director: David Anspaugh

Genre: Drama, Sport

Synopsis: A man comes to Indiana to coach the town's basketball team, and finds resistance at first, but support arrives from some highly unlikely quarters.

Within a film history context: Several films with a basketball coach as their main character have been present in cinema since the 1920s. Sam Wood's silent THE FAIR CO-ED (1927), had the male coach of an all-female college basketball team being pursued by two of its players in this early comedy. Into the sound era, BIG TOWN SCANDAL (1948), directed by William Thomas, featured the editor of a publishing company assisting juvenile delinquents in setting up a basketball center for them, with him as coach in this crime movie. The basketball coach in Jack Nicholson's DRIVE, HE SAID (1971), was a testy man fully committed to winning the game, but had to contend with a number of wayward players in this drama. THE LAST PICTURE SHOW (1971), directed by Peter Bogdanovich, had a coarse coach who it was intimated played both sides of the field with one of the members of his basketball team, whilst being emotionally distant from his wife. 

Melville Shavelson's MIXED COMPANY (1974), followed the life of a basketball coach whose wife wants more children, but his inability in this arena puts a stop to this. She suggests adoption, a notion with which he is not comfortable, especially as she wants to adopt a black boy, a Vietnamese girl, and a Native American boy. ONE ON ONE (1977), directed by Lamont Johnson, was about a young basketball player who wins a college scholarship in Los Angeles, but must contend with a disagreeable coach, and associated academic difficulties in this sports film. Jack Smight's FAST BREAK (1979), focused upon a basketball aficionado who is offered a coaching position at a college, and brings together a motley crew of players to make a winning team. THAT CHAMPIONSHIP SEASON (1982), directed by Jason Miller, featured an aging basketball coach reuniting with his players, but the initial happy spirit of the event goes in another direction as their respective personalities clash. HOOSIERS was the best film about a basketball coach in its time.

In HOOSIERS, the male basketball coach was the central character, motivating all the action in the film. This was also present in MIXED COMPANY, FAST BREAK, and, to a lesser degree, THAT CHAMPIONSHIP SEASON. It was from the coach that passions, arguments, debates, and other events emanated. Their belief in the game, though, was more pronounced in the coaches from FAST BREAK and HOOSIERS than the other examples. These films were given over to extensive basketball game footage, and background information about both the coach, and his team members, which gave depth to the movies. HOOSIERS differed from FAST BREAK in that it was set in the 1950s, and was not contemporary of its era, as the latter was from the late 1970s. HOOSIERS was more of an inspirational narrative than FAST BREAK, where the coach assisted his team to reach the heights, and which he himself achieved. In contrast, FAST BREAK had a leaning towards comedy, with some dramatic moments interspersed. 

There are some other notable differences between FAST BREAK and HOOSIERS. The coach in HOOSIERS was instrumental in changing perceptions of the sport in the small town where he was coaching the players. There was a subtle inference to small town belief systems which take a tumble through the coach's methods for success. All-out antagonism was not displayed toward the coach, but a coming to grips for the townspeople of something new to them. While other examples such as THE FAIR CO-ED, DRIVE, HE SAID, and THE LAST PICTURE SHOW, had well-drawn interpretations of coaches, the characters in these movies took a back seat to HOOSIERS in the coverage the coach receives. One gets to know coach Norman Dale in detail in HOOSIERS, and what makes him tick. His interest in the opposite sex is treated in a naturalistic manner, with the union of two people who have a passion for basketball not forced in its execution. The best portrait of a basketball coach, HOOSIERS deserves credit for creating a three-dimensional character in this respect.

Overview: David Anspaugh is an American director with seven motion pictures to his credit. These are mostly dramas, with several sporting-themed movies amongst this group. Mr Anspaugh's second film, FRESH HORSES (1988), was about a university student who falls for a young Kentucky woman he meets one day, despite being already engaged. This young woman has a few surprises of her own in store for the man in this drama romance. RUDY (1993), was a biopic of real-life American football player Daniel Ruttinger, better known as Rudy, and his aspirations to play college football despite many setbacks in his professional life. MOONLIGHT AND VALENTINO (1995), was a romance of a recently widowed woman, and how several close female confidants support her at this critical moment in her life. The woman finds a new lease on life in the form of a housepainter whose attentions prove positive to her. 

Crime was the central element which pervaded WISEGIRLS (2002). When a former medical student starts waitressing at a New York Italian restaurant, she is plunged into a world of narcotics and dirty dealings in this suspense drama. THE GAME OF THEIR LIVES (2005), was another sports film outing for David Anspaugh. A tale of an American soccer team competing against England, and winning in the 1950 FIFA World Cup, it was, unfortunately, a heavy loss maker for its production company. Mr Anspaugh's last film to date, LITTLE RED WAGON (2012), was the inspirational story of a young boy whose work for homeless children resulted in the creation of a charity for support in this area. HOOSIERS marked David Anspaugh's film debut, and is his best movie.

With HOOSIERS, David Anspaugh has crafted an excellent motion picture. Taking as its focus a basketball coach assigned to train an Indiana team for the state championship, and the challenges he faces in his mission to make them winners, it is a beautifully made movie that compels from start to finish. David Anspaugh has achieved this in the following manner. The flow of events is seamless, teamed with a story which only offers emotional nourishment and satisfaction without being either saccharine, or gimmicky. Mr Anspaugh has succeeded in bringing his movie to life by providing it both an air of reality but also, making the viewer invest time and feeling in what is taking place onscreen. It lacks that obvious commercially driven aura which stigmatized many 1980s films, and is all the better for it. It does not have its eyes firmly planted only on the box office, but has the ability to tell an affecting story in a highly sensitive way. As David Anspaugh's greatest movie, and one of the best films of the 1980s, HOOSIERS is a winner. 

Acting: There are a number of performances in HOOSIERS which are exceptional. In the lead role of Norman Dale, coach of the basketball team, Gene Hackman is in one of his most sympathetic parts. While Mr Hackman usually plays protagonists who one would expect to explode emotionally, but keeps a veneer of uneasy calm, here he has that, but also, a slight vulnerability, and comic timing that is unforeseen. The thorn in Norman Dale's side, schoolteacher Myra Fleener, is a great showcase for Barbara Hershey. An actress highly adept at complex, multidimensional characters in her pictures, she carries this off beautifully in HOOSIERS, compelling the viewer with Myra's psychological twists and turns. Myra's mother, Opal, is a nice turn by Fern Persons. With her knowing ways and innate knowledge of her daughter's inner thoughts, Miss Persons' Opal is a subtle, lightly humorous portrayal which delights. The last acting of note was by Dennis Hopper as Shooter, a former basketball coach with psychological issues. As always, Mr Hopper makes his character's thoughts and actions thoroughly understandable to the audience, with his inimitable nerviness, and lack of inhibitions, which also lend his Shooter a fun edge.

Soundtrack: Jerry Goldsmith's score for HOOSIERS is perfect. Rousing during the many basketball sequences, and quieter in the character verbal exchanges, it works beautifully, considerably enhancing the visuals. It is also interesting to note that in the opening credits sequence the score is more romantic and solemn than in the closing credits, which is bolder in tone, matching the positive outcome of the story, and its inspirational focus.

Mise-en-scene: Visually, HOOSIERS has much going in its favour. The CFI colour photography by Fred Murphy has a muted but realistic flavour, which works for a movie that, although set in the 1950s, does not require screaming colour, as nostalgia is not the point of the enterprise, but raw human emotion and determination. Locations are all excellent, with the many outdoor scenes bringing the story of 1951 Indiana, Norman Dale and his basketball team, to vivid life. In turn, Carroll O'Meara's editing is smooth, with the exciting basketball segments assembled with style and nous. Additionally, his work on the character scenes are all satisfying and logical without ever being choppy. 

Notable Acting Performances: Gene Hackman, Barbara Hershey, Fern Persons, Dennis Hopper.

Suitability for young viewers: Yes.

Overall Grade: A

Link: IMDB Page

Trailer

CISCO PIKE (1971)

Title: CISCO PIKE

Year of Release: 1971

Director: Bill Norton

Genre: Drama

Synopsis: A musician, and former drug addict, is coerced by a crooked policeman to sell drugs again.

Within a film history context: Movies about characters who deal in drugs have been spotlighted many times in cinema. One of the first to deal with the issue was Leslie Pearce's THE FALL GUY (1930). In this film, a pharmacist becomes involved with the underworld, and is set up by a gangster who gives him a suitcase containing alcohol, actually being narcotics, with interesting repercussions. In BEHIND THE MASK (1932), directed by John Francis Dillon, the kingpin of a drug smuggling outfit is behind the scenes, carrying out many insidious deeds, and sought out by a federal officer played by stalwart Jack Holt. With William A. Connor's THE COCAINE FIENDS (1935) matters were of a different nature. The film explored the consequences of drug addiction, with a drug dealer meeting two siblings, and through him become hooked on drugs. More exploitation fare than a serious examination of drug addiction and its attendant issues, it nonetheless contained enough melodrama to hold the attention. Drug pushers are again highlighted in ASSASSIN OF YOUTH (1938), directed by Elmer Clifton. In this movie, a young woman becomes involved with drug dealers, a gang which a newspaper reporter attempts to break to help save the young woman from further harm. Unlike THE COCAINE FIENDS, there is more of a positive spin to ASSASSIN OF YOUTH, with less violence, and a more upbeat ending. Later films also looked at the drug dealer theme in varying ways.

An adventure-filled take on drug dealers was provided by Julien Duvivier's CAPTAIN BLACKJACK (1950). In the title role of the drug smuggling villain, George Sanders mixed devilish deeds, romance and action, alternately being pursued by a drug trafficker, and a police officer. With the action occurring in the Mediterranean, a point of difference was provided by its exotic locale. FINGER MAN (1955), directed by Harold D. Schuster, was concerned with revenge in its narrative. A man sought to identify the drug lord responsible for his sister's downfall, a theme also evident in later films such as HIT! (1973). In Otto Preminger's THE MAN WITH THE GOLDEN ARM (1955) former addict Frankie, played by Frank Sinatra, released from jail, battles to stay away from drugs, but finds himself pulled back into narcotics by various characters, including a drug dealer from his past. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, also featured a drug dealer who supplies a Korean War returning soldier with morphine, which causes mayhem in his marriage. In Irvin Kershner's STAKEOUT ON DOPE STREET (1958) intrigue and murder follow two teens who become involved in drug dealing, with an unscrupulous dealer on their trail. A more heart-stopping view of a drug dealer was served by CITY OF FEAR (1959), directed by Irving Lerner. A drug dealer escapes from jail, believing that he is carrying heroin in a canister, which is actually a radioactive substance. A complicated chain of events ensues, with the race to avoid the release of this substance on the public. The 1960s had equally varied depictions of drug dealers.

More in an exploitation vein was Joseph Mawra's OLGA'S GIRLS (1964). An odious woman deals in drugs and white slavery, and keeps young women on a string by feeding them drugs, but they learn to fight back. SOL MADRID (1968), directed by Brian G. Hutton, was similar in style to OLGA'S GIRLS. This time the drug dealer was a man, pursued by both an agent, and a prostitute, with a number of hairy incidents occurring. Much more open about drug dealing was Dennis Hopper's EASY RIDER (1969). A pair of bikers go cross country in their quest to find freedom, but things do not quite go as planned for them. Their involvement in both drug dealing, and drug use is captured by the movie, probably the most detailed in its depictions up until that time. Revenge was the main focus in THE WILD PUSYCAT (1969), directed by Dimis Dadiras. In this film, a woman unleashes her fury on the drug dealer who led her sister into narcotics, and subsequently suicide. Into the 1970s, further movies highlighted the drug dealer theme for audiences.

Jerry Schatzberg's THE PANIC IN NEEDLE PARK (1971) was an unsparing movie about addicts and drug dealers in New York City. Notable for its honest, close up presentation of the subject, and sympathy for its characters and their plights, it gave Al Pacino and Kitty Winn, as well as its supporting actors, substantial roles. More in an investigative light was CLAY PIGEON (1971), directed by Lane Slate and Tom Stern. This time around, a former addict is assigned by a Federal agent to break up a drug dealing racket which other Vietnam veterans such as himself have been involved. One of the best, and most famous films with drug dealing as its main topic was William Friedkin's THE FRENCH CONNECTION (1971). Two New York City police officers pursue a French drug lord, leading them on an odyssey which takes up the majority of the screen time in this suspenseful, action-packed movie that still packs a punch today. A more romantic take on the drug dealer theme was found in HONKY (1971), directed by William A. Graham. A young black woman, dealing in drugs, becomes involved with a young white man, in this tale of interracial love and narcotics. Ivan Passer's BORN TO WIN (1971) was akin to THE PANIC IN NEEDLE PARK, with a drug addict and dealer's life exposed for viewers to contemplate. What distinguished BORN TO WIN from other films on the drug dealer theme, particularly THE PANIC IN NEEDLE PARK, was in its black comedy aspect, something which provided the film some oomph between heated stretches. CISCO PIKE contained elements of many anti-drug movies, but also added some of its own original touches to the drug dealer genre.

In a small way, CISCO PIKE harks back to the anti-drug movies such as THE COCAINE FIENDS, later films such as THE MAN WITH THE GOLDEN ARM, A HATFUL OF RAIN, and THE PANIC IN NEEDLE PARK, in depicting the effect drugs has on the main protagonist, and associated characters. While CISCO PIKE is more concerned with the drug dealing segment than the effects of narcotics on its characters, it is still present in an affecting manner. The scene of an overdose in the movie is well-handled, with emotions running high as a result of this event. It leads to a number of consequences for the main character, particularly to do with his live-in relationship. The film, though, does not go as far as THE PANIC IN NEEDLE PARK. It does not present scene after scene of drug addicts and needles being inserted, or physical, and emotional aftereffects. CISCO PIKE has a less edifying view of the effect of drugs, in line with late 1960s, and early 1970s more relaxed depictions of drugs, such as in EASY RIDER. Other facets of the movie also deserve examination.

As in the vast majority of films, the drug dealer is shown as a real person in CISCO PIKE, and not a shadowy figure of mystery as in BEHIND THE MASK. Where CISCO PIKE diverts from these films is that the drug dealer is a policeman, which is a twist on the other movies where the dealer is from the underworld. In addition, it is implied that the policeman has become corrupt due to a lack of financial and prestigious standing as an officer, and has resorted to drug dealing to supplement a meagre income. This is in complete contrast to the other films where the drug dealer was a wanton individual whose only motivation was to lead others to destruction. In CISCO PIKE, frustration had led a police officer to a way of life that is contrary to his position as protector of society. Making character motivations clear in this film for the police drug dealer, and subsequently more of a three-dimensional, realistic figure, puts CISCO PIKE on a par in this respect with BORN TO WIN's somewhat sympathetic, but misguided, main character. For these reasons, CISCO PIKE stands out as a diverting take on the drug dealer theme.

Overview: Bill Norton directed four features in his film career, being more active in television helming telemovies and episodic television. His second film, MORE AMERICAN GRAFFITI (1979) was the sequel to 1973's AMERICAN GRAFFITI, picking up with many of the same characters several years after the first movie. Not as warmly remembered as the 1973 mega-hit, it still made money, though not in the same league as its seminal predecessor. His third film, BABY: SECRET OF THE LOST LEGEND (1985) was a family oriented adventure about a paleontologist and her husband's adventures, specifically involving dinosaurs in Africa. Mr Norton's final movie, THREE FOR THE ROAD (1987) was a comedy-drama of a liberal daughter and her conservative senator father clashing over their beliefs, and his attempt to have her committed to a mental health facility. CISCO PIKE was Bill Norton's directorial debut, and an interesting film for a number of reasons.

The director has succeeded in capturing the life of the protagonist over the course of the film, with a number of events happening to him, and his involvement with various characters who bring out different sides to him. CISCO PIKE has a documentary feel, akin to reality television, charting the life of a talented musician who becomes enmeshed in drug dealing through a crooked police officer. One gets a feel for his live-in life with his girlfriend, their relationship presented clearly to the audience in the space of just a few scenes. Cisco's musical career is also delineated well, with his gigs, stints in the recording studio, and interactions with the personnel of these charted in detail. The character's other relationships, such as with groupies and his best friend, are also examined in pithy scenes. CISCO PIKE, while providing a close up view of drug dealing and the consequences of drug use on its characters, does not as such glamorize this social issue, which is one of the film's best aspects. Where the film is lacking, though, is in certain details which would have made an average film much better.

The film admittedly has an agreeable freewheeling mood, but the casual treatment of many of its plot points leaves much to be desired. The central relationship between Cisco and Sue could have benefitted from much more showcasing in the movie. As it is, one can discern their chemistry, but how, and why they came together as a couple is not divulged. While their teaming does serve a purpose in the narrative, one does not feel for them greatly as a couple, apart from several important scenes. Some elements would have assisted in making their pairing more moving. If Sue found out about Cisco's two-timing ways this would have created more friction between them, but this is never explored. On the one hand, having too much going on can detract from a movie, making it top heavy. On the other hand, certain dramatic possibilities could have added richness to the proceedings that is lacking. Not having key scenes thus robs the characters of depth that would have made them even more realistic, and the actors of scenes they could portray to the hilt. Another lost opportunity is the character of Officer Leo Holland, one of the film's strongest points. 

Leo Holland is a mixed bag of emotions, a disaster waiting to happen who should have provided some dynamite moments, but his infrequent appearances blunt the dramatic potential in CISCO PIKE. Leo Holland is blackmailing Cisco, and some drama is wrung out of their scenes together, but not having more of Leo in the film makes it dramatically too placid. Having Leo threaten Cisco on a more regular basis, not only physically but also, verbally, would have added much-needed tension to the film. As it is, Leo Holland is just a character who drops by to make his presence felt, then disappears. Similarly, the movie could have made much more of Jesse Dupre, Cisco's best friend. Whenever the character is present the film contains touching segments, especially to do with Jesse's insecurities and Cisco's reaction to these. Limited scenes, though, means less of characters who could have provided the movie with further edges and scope. If the film tightened certain scenes, and gave greater coverage to the emotions of its characters, it would have been a much more compelling viewing experience. As it is, CISCO PIKE contains both very good and average elements, but, with some tweaking, could have been a much better final product.

Acting: The director has assembled a talented cast of actors for CISCO PIKE who help make it an entertaining experience. In the lead role of Cisco Pike, and in his acting debut, Kris Kristofferson does a great job as the musician with a penchant for attracting trouble. His warmth and unaffected nature lends much to the movie. As Cisco's girlfriend Sue, Karen Black provided authority and sparkle in the few scenes in which she appears, and is well matched with Kris Kristofferson. Viva, as Cisco's fling Merna, furnishes some of the comic moments in the film with her deadpan dialogue delivery, making her world-weary character lovable. 

Harry Dean Stanton, as Jesse Dupre, Cisco's best friend, supplies the film's most heartfelt performance. A man who lays bare all his anxieties in such a stirring manner, but cannot control his fatalistic urges, Mr Stanton shines in his small role. The final acting of note is by Gene Hackman as Leo Holland, the bent police officer hot on Cisco's trail. This is one of Mr Hackman's great performances, even though he is not on screen for a long period. Here he displays a delicate sensuality not evident in his other movies, and a sympathy that makes him difficult to dislike, despite the character's rough edges. Mr Hackman here has created one of the most well-rounded, fascinating villains ever shown on film.

Soundtrack: The movie has an easy-going soundtrack that is in keeping with its laid back, casual mood. Most notably, the piece 'Lovin' Her Was Easier' is played during the film's credits, in the opening few minutes, and 'The Pilgrim' at the movie's end. Both tunes provide a useful non-diegetic commentary on what is taking place on screen. Several other tunes performed by Kris Kristofferson are featured throughout the picture, especially during the concert sequences, and some incidental music is scattered through the film.

Mise-en-scene: CISCO PIKE offers a vivid background for its characters which says much about them in a low-key manner. Cisco and Sue's small house is slightly scruffy and disheveled, which speaks volumes of their seesawing relationship, and bohemian way of life. The places Cisco visits, such as the recording studio, the outdoor locations such as the car yard, and the sleazy bar, suggest different sides of the character and his activities. There is also a view of Los Angeles, with urban decay, graffiti on display, also adding a non-verbal view of the story world. Vilis Lapenieks' cinematography is naturalistic, emphasizing the unglamorous, tumultuous life of the film's protagonist.

Notable Acting Performances: Kris Kristofferson, Karen Black, Gene Hackman, Viva, Harry Dean Stanton.

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, medium-level violence, drug use.

Overall Grade: C

Link: IMDB Page

Trailer

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