Reflections
on “Cool Hand Luke” (1967)
Directed
by Stuart Rosenberg
Written
by Donn Pearce and Frank R Pierson
Starring
Paul Newman and George Kennedy
The scene is set in the opening
few minutes for the conflict, drama and influence that will form the core of
interest as they are developed in the course of the film.
We first meet Luke as he
calmly, if drunkenly, sets about removing parking metres from a series of
evenly spaced and orderly posts and it is clear that this is a nonviolent but
determined, if relaxed, expression of his dislike of regulation and the imposition
of petty order by society on its citizens. When the police arrive, Luke gives a
broad and friendly grin suggesting no malice and also indicating a natural,
free spirit and even a degree of innocence or purity.
Next, we see a chain gang
labouring in intense heat and under close supervision. In stark contrast to Luke’s
free spirit, the convicts are totally submissive as they seek permission from
their guards to take even the smallest action, such as removing an item of
clothing, ending every request with “boss”. They appear to have learned and
accepted, perhaps under pressure, their place in the prison pecking order,
though by extension they may represent those citizens who have succumbed to
regulation and authority in society.
When we meet the guards,
they are generally faceless and expressionless, offering little or no
interaction with their charges beyond giving or denying permission. They may
represent anonymous authority whose power and dominance are emphasised by the
way they are filmed, with shots from the back of the head or looking up from a
position of inferiority.
When Luke and a few other
new arrivals turn up, the more experienced inmates set about using rules and
manipulating men and situations for their own amusement and effectively
establishing a pecking order among the inmates, perhaps in a desire to build
their own egos.
Initially, Luke does his
time rather quietly but eventually, after a distant but sensually provocative
encounter with a local temptress, he suggests to well-established inmate
Dragline that he is doing himself and the others no favours by reliving the
moment and sharing his thoughts and torment, and Dragline challenges him to a
boxing match.
Luke is outmatched by his
sizeable opponent but he refuses to concede defeat, perhaps demonstrating Luke’s
attitude to life and its challenges in general. Each time he is knocked to the
ground, he rises to face his adversary again, despite advice from the other
convicts to stay down, perhaps reflecting a general attitude to life and
authority among them. Luke virtually turns the other cheek and allows Dragline
to knock him down again and this has the effect of removing the “sport” from
the occasion, with no victory or defeat and reducing it to what it was always
intended to be, a beating. The onlookers walk away in disappointment and dismay
but this event has revealed Luke’s spirit and strength, and incites respect and
admiration for Luke, and acceptance.
Two or three more events
instil and extend Luke’s influence on his fellow inmates.
He wins a game of cards
with a very poor hand but bluffs his way to success, almost in an act of faith
and another refusal to concede, and he gains his nickname in the process, a
sure sign of belonging and acceptance.
He lends purpose and
excitement to the convicts’ lives by accepting a challenge to eat 50 boiled
eggs. The preparation, support and associated betting surrounding this event do
much to unite and uplift the spirits of the convicts who are no longer
rule-bound and keen to build themselves up at the expense of others.
This injection of spirit
and unity culminates in a display of determination and energy, bordering on
defiance, when the men are instructed to resurface a lengthy stretch of road, a
back-breaking and time-consuming task. They complete the work in record time as
a result of Luke’s inspiration and high-spirited challenge to take on and
exceed the expectations of the warden and guards. In so doing, the convicts complete
the job on their own terms and are elated by the sense of success, control and
freedom they experience. Of course, the guards are left anxious as, effectively,
they lose control of the situation though their prisoners have done only what
was asked of them, but they set the pace and did not behave as if this was a
punishment. It appears that freedom can be achieved through an attitude of
mind.
By now, Luke has achieved
virtual hero status and he becomes an essential element in the convict
community. He is consulted regularly on various aspects of prison life and he
even adopts a certain familiarity with the guards who respond in kind. Things
seem to be going relatively smoothly as Luke’s influence has raised the spirits
of all concerned, fostering a brighter and more positive outlook.
Luke’s mother visits him
and we are given some insight into his upbringing. It appears his father was
never around though he bears his father no ill will, and Luke clearly loves his
mother who has always admired Luke’s spirit and winning ways, to the extent
that she declares she has always favoured him above his brother. She informs
Luke she is dying and will leave her worldly goods to his brother by way of compensation
for her favouritism and preference. Luke is unperturbed by this apparent slight
as he clearly values his mother’s love and admiration above mere possessions.
The turning point in the
film and the direction it and Luke take comes with the death of Luke’s mother,
or rather the actions of the warden and guards in response to news of her
death. Luke is incarcerated in “the box”, a sort of isolated and cramped punishment
cell, to ensure he makes no attempt to escape and attend her funeral. This lack
of compassion and understanding is in sharp contrast with the easy-going acceptance
of position and authority, and the humanity Luke has fostered since his arrival
and he tells the guard that stating he is doing his job does not make it right.
Luke may always have been
ready to challenge the status quo and identify inconsistencies or injustices,
but he has shown willing, while in prison, to compromise and accept his
punishment, but this blatant injustice and inhumanity pushes him over the edge
and he is no longer willing to play the game.
Luke sets out to escape
and does so with the connivance and collaboration of his fellow inmates. They
almost seem to live their lives vicariously through Luke and his exploits, and
his daring, panache and style assure his hero status in their eyes.
Although recaptured, he
escapes again, duping the guards and further building his standing. He even
manages to send a photo of himself with two attractive young ladies to Dragline
and this image cements Luke’s iconic status for the others who, like many, seem
to need someone or something greater than themselves to believe in, if only to
give them hope as they face difficult or insurmountable circumstances.
Eventually captured once
again, Luke is punished by having to repeatedly dig a grave-shaped ditch and
refill it until he is utterly exhausted and is willing to capitulate and
concede to the warden’s demands. Clearly, the warden and guards seek to destroy
his image and status by publicly destroying the man while Luke’s friends sing
spiritual songs in an effort to maintain his morale. He is knocked into what is
effectively a grave and this may be intended to represent the death of his
defiance. He arises a broken and weakened man willing to accept whatever
conditions are demanded if it means he can stop digging.
As he faces his fellow
convicts, despondent and physically and emotionally exhausted, Luke rejects his
hero status and the pressure that entails by stating that he has failed and the
image he sent during his escape was faked. Dreadfully disheartened and
disappointed, they lose heart as they lose faith in their hero. One convict symbolically
tears up the image and it is stashed under a mattress.
In one final daring,
intelligent and stylish bid to escape, Luke steals a truck while on a work
detail and Dragline, carried away by excitement and inspiration, jumps on as
well. However, Luke seems to be aware he will not make it, separates from
Dragline and heads to a town church where he proceeds to pray to and address
God.
This is the culmination
of a whole series of Christian images, including the way he lies when he is
placed on a table, suggesting Luke may be viewed as something of a Christ
figure.
He is a pure-hearted loner
who has challenged, without violence, the political and moral status quo, has
shown humanity, turned the other cheek and lifted the spirits of all those
around him. His family background is familiar and he was rejected by those he
helped, and now Dragline effectively acts as Judas as he draws the authorities
to Luke, albeit believing he is actually doing Luke a favour.
In the church, Luke talks
to God and says he can’t understand the path He has chosen for him, and asks
for a sign whereupon Dragline appears. In the end, Luke is fatally wounded and
Dragline turns on the authorities, leading to further punishment, yet Dragline
goes on to talk vividly about his friend’s exploits and character, almost like
a disciple. In the final scenes, the work party sets about its work but all are
reasonably positive and inspired. Luke may have died but his sacrifice (for he knew
things would not turn out well for him) has led to a change of attitude.
Spiritual freedom has been achieved even if the same physical restraints are
still in place.
As we pull away from the
work party, a crossroads forming a cross comes into view, and the torn image of
Luke with his lady friends also appears, showing the same cross where the photo
has been repaired…..
The script and direction
of this excellent film maintain pace and engagement throughout, though the film
really takes off in the second half with Luke’s unjust imprisonment in the box.
All the characters are nicely fleshed out and played but Paul Newman and George
Kennedy certainly deserve particular credit and praise.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie stuartfernie@yahoo.co.uk
