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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
It's 1790 and British Naval Commander Redway is driven by greed for money and will stop at nothing to get it. His second in command, David Robinson, questions his allegiance when Redway kills his father and takes his brother prisoner. In order to save his brother and avenge his father's death David must join forces with a band of pirates, led by Captain Bernard, hunt down and kill Redway.
When illegal card dealer and recovering heroin addict Frankie Machine gets out of prison, he decides to straighten up. Armed with nothing but an old drum set, Frankie tries to get honest work as a drummer. But when his former employer and his old drug dealer re-enter his life, Frankie finds it hard to stay clean and eventually finds himself succumbing to his old habits.
20 volunteers agree to take part in a seemingly well-paid experiment advertised by the university. It is supposed to be about aggressive behavior in an artificial prison situation. A journalist senses a story behind the ad and smuggles himself in among the test subjects. They are randomly divided into prisoners and guards. What seems like a game at the beginning soon turns into bloody seriousness.
People in the future live in a totalitarian society. A technician named THX 1138 lives a mundane life between work and taking a controlled consumption of drugs that the government uses to make puppets out of people. As THX is without drugs for the first time he has feelings for a woman and they start a secret relationship.
A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgängers, and an impossible transformation inside a prison cell.
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.
A hard-nosed cop reluctantly teams up with a wise-cracking criminal temporarily paroled to him, in order to track down a killer.
A Finnish man goes to the city to find a job after the mine where he worked is closed and his father commits suicide.
Aspiring comic Rupert Pupkin attempts to achieve success in show business by stalking his idol, a late night talk-show host who craves his own privacy.