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We are all just numbers here. The Last Mile is directed by Samuel Bischoff and adapted to screenplay by Seton Miller from the John Wexley play of the same name. It stars Preston Foster, Howard Phillips, George Stone, Noel Madison and Adam Roscoe. Music is by Val Burton and cinematography by Arthur Edeson. Interesting watching this pic these days to note just how much set in stone the formula is even today. All of the staples of the prison based dramas are right here in 1932, and of course the thematic beats of anti capital punishment still bang loud as much today as they did back then. Reprieve! Reprieve! The Last Mile in production is very much of its time, the stage origins not really leaving us as this is essentially a one set production. The acting ranges from excitable overacting to non credible characterisations. It's also a touch irritating that the key element for our main man Dick Walters (Phillips), the flashback to why he was sentenced to death, is played too early in the piece. And yet there's a power in the drama that lures you in, keeps you right there in the confines of death row. From a photographic stand point it looks terrific, Edeson's (They Drive by Night/Casablanca/The Maltese Falcon) monochrome lensing is perfectly moody. Holding court in the acting stakes is Foster, who is right at home playing the angry alpha male, it's the plum role and the one with the dramatic swagger. It was a busy year for Foster with 7 releases! Including the brilliant I Am a Fugitive from a Chain Gang. Not a great film but it's above average, and important in a number of ways as regards the history of genre cinema. While as a time capsule it remains a fascinating venture. 6/10
Meursault is a man who feels utterly isolated from everyone and everything around him. This alienation results in sudden, inexplicable bursts of violence, culminating in murder.
A mockumentary following the troubled production of Clockmen: The Musical, focusing on a cosplayer-turned-actress who reacts to the stress of the production in a rather unusual way.
Sexually abused as a young girl, Kate "Ma" Barker grows into a violent and powerful woman by the 1930s. She lovingly dominates her grown sons and grooms them into a pack of tough crooks. The boys include the cruel Herman, who still shares a bed with Ma; Fred, an ex-con who fell in love with a fellow prisoner; and Lloyd, who gets high on whatever's handy. Together they form a deadly, bizarre family of Depression-era bandits.
Britisher Sir Charles Farrington and a son, Rex Farrington, arrive in a Russian Soviet territory searching for another Farrington son, Michael,who has been thrown into prison. Valarie Perrovna is a singer who is in love with the imprisoned son and she provides the searchers with the information as to where the missing son is being held. They all go there and help Michael escape. But is their escape vehicle--a flat wagon pulled by three horses-- fast enough and sturdy enough through the snow to beat the Commmisar and his troops to the Rumanian border
When Gelsomina, a naïve young woman, is purchased from her impoverished mother by brutish circus strongman Zampanò to be his wife and partner, she loyally endures her husband's coldness and abuse as they travel the Italian countryside performing together. Soon Zampanò must deal with his jealousy and conflicted feelings about Gelsomina when she finds a kindred spirit in Il Matto, the carefree circus fool, and contemplates leaving Zampanò.
Shipped off to a Romanian orphanage to finish his sentence, a British criminal finds romance but also discovers corruption inside the facility.
A career criminal who has been deformed since birth is given a new face by a kindly doctor and paroled from prison. It appears that he has gone straight, but he is really planning his revenge on the man who killed his mentor and sent him to prison.
A chronicle of country music legend Johnny Cash's life, from his early days on an Arkansas cotton farm to his rise to fame with Sun Records in Memphis, where he recorded alongside Elvis Presley, Jerry Lee Lewis and Carl Perkins.
Derek Vineyard is paroled after serving 3 years in prison for killing two African-American men. Through his brother, Danny Vineyard's narration, we learn that before going to prison, Derek was a skinhead and the leader of a violent white supremacist gang that committed acts of racial crime throughout L.A. and his actions greatly influenced Danny. Reformed and fresh out of prison, Derek severs contact with the gang and becomes determined to keep Danny from going down the same violent path as he did.