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I've got two lousy weeks left, and you're asking me to have faith? The Last Mile is directed by Howard W. Koch and adapted to screenplay by Milton Subotsky and Seton I. Miller from the play of the same name by John Wexley. It stars Mickey Rooney, Frank Overton, Michael Constantine and John Vari. Music is by Van Alexander and cinematography by Joseph Brun. The Death House is the cell block where nine inmates await their dates with the electric chair. Some of the guards delight in tormenting the condemned men, one of whom is Killer John Mears (Rooney), and he's had enough... Already made in 1932 with Preston Foster in the starring role, Howard Koch's 59 version of The Last Mile taps into the film noir zeitgeist of the time and unleashes a film of great power. Essentially played out on one set, there was a danger that this could have been too stage bound as a production, but not a bit of it, the tight confines of the shoot are just perfect for the thematics of the story. Pic begins with imposing title credits, an animated drawing of "Old Sparky" accompanied by shards of Van Alexander's Jazz "N" Blues musical score. We are then locked up with the convicts of "The Death House", sharing their fears, their anger and their regrets, the constant glances towards "The Door" at the end of the block akin to catching a glimpse of "The Grim Reaper" spying on you. For the first two thirds of the piece the makers ask for our patience as they build characters and atmosphere, gently ratcheting up the tension with every claustrophobic frame. Prison stories were ready made for film noir purveyors, offering great opportunities for the cinematographers to utilise the steel bars for psychologically shadowed impact, and Joseph Brun does that excellently here, even managing to extend the cell shadows over the smug guards, the inference is that they too are locked up in this place of abject misery. The air of fatalism mixes with the sweat of the men and drips down the cell walls, we are left in no doubt that this powder keg is about to be ignited, and when it comes it comes with the thunder, producing a last third of kinetic cinema of throat grabbing proportions. To which Koch and his team deliver a film noir coup de grace. Rooney leads the way with his performance of a seething John Mears, it's not over acting as some critics of the time suggested, it's a full on commitment to the portrayal of the incarcerated male who literally has nothing to lose and has had enough of being taunted. The other actors around him inevitably pale into his shadow, but they also put much emotion into their respective roles, very much so. An under seen and under valued prison noir, The Last Mile should be sought out by anyone with a bent for such films. 8.5/10
A crusading psychiatrist battles a sadistic female warden to improve conditions at a women's prison.
A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.
After killing a prison guard, convict Robert Stroud faces life imprisonment in solitary confinement. Driven nearly mad by loneliness and despair, Stroud's life gains new meaning when he happens upon a helpless baby sparrow in the exercise yard and nurses it back to health. Despite having only a third grade education, Stroud goes on to become a renowned ornithologist and achieves a greater sense of freedom and purpose behind bars than most people find in the outside world.
When petty criminal Luke Jackson is sentenced to two years in a Florida prison farm, he doesn't play by the rules of either the sadistic warden or the yard's resident heavy, Dragline, who ends up admiring the new guy's unbreakable will. Luke's bravado, even in the face of repeated stints in the prison's dreaded solitary confinement cell, "the box," make him a rebel hero to his fellow convicts and a thorn in the side of the prison officers.
Sheriff Holt is determined to prove that prisoners can be rehabilitated and released into society in this prison drama. In charge of a new kind of program, the sheriff places inmates in a clean environment and makes them build a road. Despite the improved conditions, the criminals continue to pull off a few shady shenanigans as an innocent man who is sent there soon discovers.
Julián finds love and a reason for living in the last place imaginable: the Dominican Republic's Najayo Prison. His romance, with fellow prisoner Yanelly, must develop through sign language and without the knowledge of dozens of guards.
Parolee Taylor's hopes for a fresh start are jeopardized by cellmate Dee's arrival. As Dee takes Taylor under his wing, a vicious attack tests their bond, forcing Taylor to choose between protecting Dee and his own chances at freedom.
The Nazis, exasperated at the number of escapes from their prison camps by a relatively small number of Allied prisoners, relocate them to a high-security 'escape-proof' camp to sit out the remainder of the war. Undaunted, the prisoners plan one of the most ambitious escape attempts of World War II. Based on a true story.
Two escaped cons' only prayer to escape is to pass themselves off as priests and pass by the police blockade at the border into the safety of Canada.
Three convicts escape from prison on Devil's Island just before Christmas and arrive at a nearby French colonial town. They go to the store of the Ducotels, the only store that gives supplies on credit. They initially intend to take advantage of them but have a change of heart after they find the family is in financial troubles.
In a German town, teacher Irene leads an inconspicuous, boring, lonely life. One day, a man rings at her door and slips in. It's an armed convict from the prison next door, escaped with a leg wound. He now makes her a prisoner in her own home. Almost without a word, as if she secretly enjoys the excitement or just mesmerized, she obeys Vassily, every single command, even sexual services, submissively or after a symbolic struggle. Somehow that seems to change, but can force initiate love?