It is often said that a country’s social history can be fully apprehended by observing its prisons than watching over its other well-established institutions. If you think that this statement contains an iota of truth then America is a nation with an enormous societal problem. If you type in a simple question of ‘How many people are in jail in US?’ in Google, the answer would be that ‘716 people per 10,000 of the US population’ (as per Oct.2013 stats). US, which contains 5 percent of world’s population has 25 percent of world’s prisoners. Numbers of people behind bars in some of US states are higher than the prison populations of oppressive nations like Egypt, Saudi Arabia, or Mexico. These astounding stats become disturbing when it is proven that increased prison rates don’t help much to bring down the crime rates.
Since the 1980’s, incarcerated citizens in America’s
thriving prison-industrial complex have more than quadrupled. But, before this
mass incarceration problem, American Penitentiaries confronted bloody prison
riots, which sometimes turned into revolutionary upheavals. Although the Attica
Correctional Facility uprising (situated in New York) demonstrated the inhumane
conditions faced by inmates (it ended horrifically with the death of 10
hostages & 29 inmates), the widespread prison struggles began in the early
1950’s. Most of these struggles were apolitical and the demands were perennial
ones like better food & better treatment. At least fifty major riots is
said to have happened between 1950 and 1953. These riots were all mostly
spontaneous uprising. The iron-handed approach by the prison & state
administration only spawned more radical ideas inside the prison walls.
Director Don Siegel’s (known for explosive action sequences
& tight narration) earliest directorial effort “Riot in Cell Block 11”
(1954) fictionally recreates one of those riots, happened six decades earlier.
Since the American prison system has gotten worse over the years, the film’s
message still remains timely and relevant. This was also the film which brought
up a thematic template for Don Siegel, who chiseled his way up to make widely
acclaimed works like “Dirty Harry”, “The Shootist” etc. “Riot in Cell Block 11”
was produced by ‘Allied Artists Pictures’ only as a ‘B-movie’, but over the
years it has gained the status of a cult classic (even included into Criterion
Collection). The movie was shot on California’s Folsom Prison (used many of
actual inmate population as extras), and opens like a docu-drama with newsreel footage of actual prison riots.
The ‘cell block 11’ represents the solitary wing of the
large state prison. The inmates of the wing are angered by violent security
protocol, harsh living conditions. Most of all they hate the fact that there is
no chance for rehabilitation, since no work is given to them and they aren’t
allowed to learn new trade. The inmates sit in their cells idly, waiting for
the time to pass. It is argued that this rudderless motion inside the prison
walls only increases recidivism. Recidivism, known as habitual relapse into
crime, is one of the biggest problems of US prison system (even now). The
inmates of cell block 11 also doesn’t like the way the ‘nuts’ (used to describe
sex offenders, dangerous delinquents etc) are not segregated from low risk
offenders.
The situation reaches a boiling point, when square-jawed
leader of block 11, James Dunn (Neville Brand) and his compatriots overpower
the four guards. Dunn and his second-in-command ‘Crazy’ Mike Carnie (Leo Gordon)
free all the inmates and secure the command of the block. Mike is itching to
knife the guards, but Dunn doesn’t want to play that way, since he had started
the riot for a reason. He seeks the help of gentle ex-military man called as
‘The Colonel’ (Robert Osterloh) to clearly draft their demands. Colonel rejects
the offer initially since he is soon up for parole, but in order to curb Crazy
Mike’s fierce tactics, Colonel accepts the offer. Meanwhile, Dunn demands for a
press conference and to them he intones on the intolerable living conditions
inside prison.
Warden Reynolds (Emile Meyer) refers to the media about Dunn
and Mike’s mental health, but partly sympathizes with the motivations behind
the riot. Later, we learn that many of the prisoners’ demands have been
proposed earlier by warden to the state governor for years. Commissioner
Haskell (Frank Faylen), who arrives as governor’s emissary is a much less
decent guy than the warden. He hates the proposition of giving into inmates’
demand because he believes that it might set a precedent for future prison
riots. Haskell’s words become true as inmates of the other blocks also start a
riot at the breakfast hall. Five other guards are caught and sent into ‘cell
block 11’ (making the hostage total to 9). Dunn asks for governor’s sign to
immediately approve their demands and a promise that there will be no charges
against them.
Despite being known as a ‘b-movie’ dealing with a vital
social issue, Don Siegel doesn’t resort to preachy messages or heavy-handed melodrama,
which was widely present in the movies of that era. Of course, Siegel’s primary
goal is entertainment, but that didn’t stop him from taking a grittier &
layered approach. Although the director was famous for his hands-on action sequences,
here he directs it as an ensemble piece. He frames much of the action in long
shots and despite the removed perspective, he was able lend empathy to both
opposing factions. Some of the sequences in ‘Cell Block 11’ has also reflected
in Siegel’s other works. In one scene, when a large prison population breaks
from dining hall, they happily ransack the canteen, tool-shed etc. Siegel observe these activities of wayward men, suddenly set free from an oppressive
environment, in an intimate fashion, and later this became one of his recurring
thematic subjects.
The script was written by Richard Collins, who was
previously black-listed for four years for his involvement with the communist
party in the 1930’s. The contemplative script served as a mirror to reflect
society’s pressing problems. 'Cell Block 11’ casts out excessive grandstanding similar
to the other famous ‘social problem’ flicks of the era --“The Gentleman’s Agreement” (antisemitism),
“Home of the Brave” (racism), “The Man with the Golden Arm” (drug addiction). Collins
even at the breakneck speed of narrative never fails to acknowledge the
inherent contradictions with in the ‘prison reform’ scenario. By not coloring
many of the characters with shades of black & white, Collins effectively
incorporates the valid themes associated with imprisonment.
An imprisoned guard in one scene claims that he is never
mistreated any of the inmates or played favorites, to which ‘The Colonel’
replies, “Yeah, you treat us all the same like cons. We all fight for our
identity and you help to destroy that”. The guard immediately replies, ‘that’s
not me; that’s the prison system’. Such brimming conflicting viewpoints are
populated throughout the film, and these balanced arguments make us to look at
the economic & ethical issues involved in locking away these
offenders. Emile Meyer’s warden was one
of the brilliantly etched characters in the film. Unlike the sadistic prison
wardens portrayed in cinema, Reynolds looks at the problem with an appreciable
depth. He knows that mistreatment of inmates would only lead to more
resentment. His idea of better treatment of prisoners is approached with a sociopolitical angle rather than as a bland humanitarian approach. There is a sort of resolution & imbued
hope in the climax, but it is not in the vein of Hollywood ‘happy ending’.
“Riot in Cell Block 11” (80 minutes) is an effective
indictment of the dehumanizing effects of American prison system. No answers
seem to have been found for the lacerating questions raised by this six-decade
old movie.
Trailer
1 comment:
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