Fed up with the inhumane prison living conditions, a general prison riot breaks out, leading to hostage-taking, a stand-off with the guards and eventual negotiations with the prison administration officials.
Producer Walter Wanger, who had just been released from a prison term after shooting a man he believed was having an affair with his wife, wanted to make a film about the appalling conditions he saw while he was incarcerated. He got together with director Don Siegel and they came up with this film, in which several prison inmates, to protest brutal guards, substandard food, overcrowding and barely livable conditions, stage an uprising, in which most of the inmates join, and take several guards hostage. Negotiations between the inmates and prison officials are stymied, however, by politicians interfering with the prison administration, and by dissension and infighting in the inmates' own ranks.Written by
This film was based on an April 1952 riot at the State Prison in Jackson, Michigan in which the inmates held nine guards hostage for five days. Newsreel footage of that riot (and others) begins the film. See more »
When the state police force the convicts back into the prison by launching a barrage of tear gas at them, the police move forward, into the area being bombarded. The convicts are overcome by the gas, but the police aren't - even though they're not wearing gas masks and are enshrouded by the same gas the convicts are. See more »
I promise you no harm will come to you during this conversation. Guard! These are my instructions. Dunn is to be allowed to come into this yard and return to 11 without interference.
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The following acknowledgment appears after the opening credits: "We wish to thank Mr. Richard A. McGee and his staff of the California Department of Corrections, Warden Heinze, Associate Warden Ryan, Correctional officers and the inmates of Folsom Prison for their co-operation." See more »
The occupants of Cell Block 11 take guards as prisoners to protest at the brutal conditions in their prison. The problems are many, be it overcrowding, awful food, the mixing of psychopaths with safe category prisoners, or the treatment dished out by sadistic guards. The inmates have had enough. So led by James V. Dunn (Neville Brand), the cons draw up a list of changes they want to see enforced, changes that liberal minded Warden Reynolds (Emile Meyer) actually concurs with. But as the clock ticks down the cons are beset with in fighting, while on the outside the press and politics start to take a hold.
Tho what is known as a "B" movie, and with a budget to match such a programmer, Riot In Cell Block 11 remains today one of the finest entries in the incarceration based genre of film. As relevant today as it was back then, the film has much grit and realism coursing thru its veins. Directed by Don Siegel (Dirty Harry/Escape From Alcatraz), it's written by Richard Collins (uncredited on Invasion Of The Body Snatchers), but it's with producer Walter Wanger that the core of the piece belongs. In 1951 Wanger was convicted of the attempted murder of Jennings Lang. Lang was having an affair with Wanger's wife, and when Wanger caught them in the act, he shot Lang in the groin. Wanger, after copping a plea of temporary insanity, served four months in San Quentin Prison, where his experiences there provided the genesis for Riot in Cell Block 11.
Shot in a semi-documentary style on location at California's Folsom Prison, Siegel and Wanger used actual inmates and guards to authenticate their movie. This was made possible by a certain Sam Peckinpah, who here was doing his first film work as a third assistant director. Legend has it that the Warden of Folsom knew "Bloody Sam's" family and thus allowed the makers into the prison to film. The film also benefits by not having big name stars filling out the cast, Brand & Meyer are joined by Frank Faylen, Leo Gordon, Robert Osterloh, Paul Frees & Whit Bissell. Solid performers to a man, but no headliners, and this helps, as they mix with the real crims and coppers, the realistic feel the makers created.
Siegel's movie isn't looking for simple answers to a persistent problem, it could have easily just gone for a death or glory violent piece of entertainment. But instead it's laced with intelligence and never sinks to preaching, in fact its finale is a rather sombre footnote to the whole episode. The characters are excellently drawn too, and it's good to see that Collins and co don't just make this a cons against authority piece, they clash with each other. Thus hitting home that not all the cons are singing off of the same page. As Warden Reynolds tells when asked about riot leader Dunn, "he's a psychopath, but he's an intelligent psychopath - just like many others on the outside" it's a telling piece of writing. As is the fact that there's no soft soaping either, there's no redemptive love interests or old sage lags to talk common sense into the ring leaders, it's tough uncompromising stuff.
And while we are noting the need for reform, feeling a bond with the prisoners complaints, we are then jolted to not forget that evil men do still reside here. Evil that is perfectly essayed by an excellent Leo Gordon (a real life San Quentin resident) as Crazy Mike Carnie. Watch out for one scene involving a call to a guards wife, the impact is like taking a blow from a claw hammer. You will understand why Siegel said Gordon was the scariest man he ever met.
A top draw movie that doesn't take sides, it has both sides of the fence firmly in its sights. With us the public observing from the middle. 10/10
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