Frank Morris was a bank robber who has escape many prisons in his time, but for his troubles his transported from Atlanta and shipped off to the rock they call Alcatraz. Where supposedly no one can escape. The maximum security prison life is jarringly miserable and hopeless. The prison warden intends to keep it that way. Morris makes some friends, but also an enemy which wants to see him dead, after turning down his proposal with brute force. Through a small glimpse of hope and luck. Morris actually discovers a possible way of escape and carefully plans it out with the aid of a couple of inmates.
You can always count on the influential pairing of Clint Eastwood and Don Siegel. No matter what. On their filth and final partnership they come up with another genuine winner in the shape of the grippingly harrowing and sedated prison yarn shaped off J. Campbell Bruce's novel (and the supposed true story) of the only three men to break out of Alcatraz. It's hard not marvel at Siegel's sturdily compact craftsmanship in depicting the dour prison life with moody realism and how the story eventually folds out into a tautly drawn up break out attempt. The build up doesn't sway off course, but sticks to its simple narrative and characteristics with effective results. There's nothing explosive and downright exciting, but there's spirit lurking under the cold looking domain that eventually comes through. Like quoted in the film the rock would either break you or inspire you to fight on. The smartly layered plot works this into the characters very successfully and despite the predictability, it stays admirably honest without the need of sensationalising the facts and ambiguous conclusion. It starts of small and stays that way to the end, even with its dominantly large situation. The well-articulated script by Richard Tuggle is scanty with a lot of quiet patches. But it when comes to the forefront it manages to be cunning, but also touching. There's nothing overwrought here and gladly it doesn't succumb to that. Pacing is quite subdued, but this helps enhances the creaky mood and sophomoric nature of Alcatraz. Drama and action is kept to a minimal. Being shot on Alcatraz help chipped out such a towering and gritty presence the film held strongly and Bruce Surtees' fixedly expressive cinematography gets amongst the shadowy, dank and gloomy interior. Jerry Fielding's poignantly lingering and uncanny music score only adds more to the nauseating air whiffed up through the presentation. Clint Eastwood plays it quite steely and lean. He fit's the role smoothly as Morris. The support roles are reliably good, even if they are stuck with generic characters. Patrick McGoohan is sinisterly fine as the warden and Robert Blossom and Frank Ronzio are delightfully moving as two elder prison inmates. Paul Benjamin, Bruce M. Fischer, Fred Ward and Larry Hankin as the edgily weak-minded Charley Butts are memorably excellent in their parts.
We've been down this path before, but this efficient offering plays it cards in a very understated manner and is to the point that I found it hard not to be fascinated by it's bitter depiction. Take the chance with this fortress.
You can always count on the influential pairing of Clint Eastwood and Don Siegel. No matter what. On their filth and final partnership they come up with another genuine winner in the shape of the grippingly harrowing and sedated prison yarn shaped off J. Campbell Bruce's novel (and the supposed true story) of the only three men to break out of Alcatraz. It's hard not marvel at Siegel's sturdily compact craftsmanship in depicting the dour prison life with moody realism and how the story eventually folds out into a tautly drawn up break out attempt. The build up doesn't sway off course, but sticks to its simple narrative and characteristics with effective results. There's nothing explosive and downright exciting, but there's spirit lurking under the cold looking domain that eventually comes through. Like quoted in the film the rock would either break you or inspire you to fight on. The smartly layered plot works this into the characters very successfully and despite the predictability, it stays admirably honest without the need of sensationalising the facts and ambiguous conclusion. It starts of small and stays that way to the end, even with its dominantly large situation. The well-articulated script by Richard Tuggle is scanty with a lot of quiet patches. But it when comes to the forefront it manages to be cunning, but also touching. There's nothing overwrought here and gladly it doesn't succumb to that. Pacing is quite subdued, but this helps enhances the creaky mood and sophomoric nature of Alcatraz. Drama and action is kept to a minimal. Being shot on Alcatraz help chipped out such a towering and gritty presence the film held strongly and Bruce Surtees' fixedly expressive cinematography gets amongst the shadowy, dank and gloomy interior. Jerry Fielding's poignantly lingering and uncanny music score only adds more to the nauseating air whiffed up through the presentation. Clint Eastwood plays it quite steely and lean. He fit's the role smoothly as Morris. The support roles are reliably good, even if they are stuck with generic characters. Patrick McGoohan is sinisterly fine as the warden and Robert Blossom and Frank Ronzio are delightfully moving as two elder prison inmates. Paul Benjamin, Bruce M. Fischer, Fred Ward and Larry Hankin as the edgily weak-minded Charley Butts are memorably excellent in their parts.
We've been down this path before, but this efficient offering plays it cards in a very understated manner and is to the point that I found it hard not to be fascinated by it's bitter depiction. Take the chance with this fortress.