When it premiered in 1967, Cool Hand Luke mirrored the protests and political demonstrations of the time. This straightforward story about a man's time in prison became a reflection on how a nation was reacting to its volatile climate. Yet even today, the movie never seems preachy or searching for its allegorical elements. It works as both a rousing adventure and a compelling drama.
Paul Newman is in full stride as Luke Jackson, an enigmatic former war hero who winds up in prison for clipping some parking meters while on a drunken spree. He gets two years for his escapade (one wonders if the justice system would assign anywhere near as harsh a sentence to an offender these days), and must integrate himself into the rough prison hierarchy. The leader among the convicts is Dragline (George Kennedy), a simple but powerful brute who challenges Luke to a boxing match after some sassy barbs are exchanged. Although Luke is pummelled in front of the others, his strength of character stands out when he keeps getting up over and over again.
Soon, Dragline and the others dub him Cool Hand Luke after some unorthodox poker playing. Luke also ingests 50 boiled eggs in the span of 60 minutes in the film's most entertaining and bizarre scene. Despite severing ties to family and friends in the outside world, Luke longs to escape, and after some solitary time in "the Box", he breaks out. His first attempt soon ends up with him back in custody again, which fuels the fire to escape all the more. The next escape requires a creative way of breaking free with a set of chains at his feet. After a second capture, Luke is made an example of in front of the others, while his esteem is broken down in grueling fashion.
Much like Clint Eastwood's Escape from Alcatraz, in terms of its depiction of wardens and employees of pentitentiaries, Cool Hand Luke comes much closer to reality than a movie like the Shawshank Redemption. Here, we don't get to know many of the wardens or bosses other than on the periphery. They are shown to be men of moderate reason, but who will coil and attack when their authority is challenged. Other than a moment near the end, there are no unprovocated, illegal attacks, as there might be in lesser prison movies.
Stuart Rosenberg's direction is palpable here, as the convicts sweat and toil on the chain gangs day after day. In conjunction with Conrad Hall's cinematography, the scorching sun becomes a prominent character all its own in the film. The screenplay, written by Donn Pearce and Frank R. Pierson, is based on a novel by Pearce and his first-hand experiences on a chain gang, adding to the authenticity of the production.
Newman is the quintessential wisecracker as Luke, and in the scenes showing his suffering we are surprised to see how strongly attached to his plight we have become. It's hard to imagine anyone else in the title role. George Kennedy won the supporting actor Oscar for his poignant portrayal of Dragline, and he provides a fine counterpoint to Newman's suaveté. Jo van Fleet plays Luke's chain-smoking mother, and Dennis Hopper, Wayne Rogers and Harry Dean Stanton appear as fellow convicts.
If Cool Hand Luke can be faulted for anything, perhaps it is in its simplistic design. However, with such a strong story as its foundation, the directness of the narrative can hardly translate into that fault being necessarily a bad thing. Some of the most endearing of parables (indeed, there are several religious symbols in the film) are devoid of clutter or subplots. Evocative, enticing, and winsome may be appropriate general descriptions here, but these words pale in comparison to the most logical one for such a classic and influential film: cool.
