After reading Escape from Alcatraz and viewing the film, it was quite disappointing to see the lack of emphasis on target practice as a reason for a breaking point. From Bruce’s text, we learn of the ill treatment the prisoners endured. Prisoners were not allowed to speak, given a starvation diet when acting up, tortured with target practice, etc. In contrast, the film mainly focuses on individual characters intolerance to deal with Alcatraz.
In Bruce’s text, we learn that target practice was the breaking point for some prisoners. These prisoners would scream “Stop it! Goddamit, stop it!” (70). However, in the film only seven seconds are allocated for a target practice scene. From the text we learn that this caused prisoners to crack, which may also be the reason why some chose to escape. We can imagine what would go on in their minds-maybe one day
they would be the target. It was disappointing to see in the film that there was no emphasis on target practice or a prisoners reaction to it.
However, the film does focus on breaking points for other prisoners. After painting privileges were taken away from Chester Dalton, he decides to cut off his fingers. When the guard takes his paintings we hear Dalton’s trembling voice: “Painting’s all I have,” (38:18). For Dalton, painting was a means of an escape from Alcatraz without physically escaping. Painting broke away from the monotony he had to endure
throughout his time on the rock. When this was taken away, he shares that he has nothing else. In which case, he decides to cut off his fingers. This brutal mutilation really reinforces the statement that he had nothing else. As the viewer, we know that he did nothing to have this privilege taken away from him.
For Charley Butts, his breaking point was when he learned that a guard was listening to his conversation with his wife. Butts learns that his mother is going to die and when he remarks that he cannot make a phone call to his mother, a guard tunes in and says: “You are not allowed to discuss the rules of the institution. Stick to your personal life,” (49: 37). This is Charley’s breaking point since he realizes that even a personal conversation with his wife is still controlled by what a guard says. A small comment assuring that he cannot make a phone call to his mother caused the guard to intervene. What’s surprising is that the guard chose to intervene in the conversation. This is a personal moment for anyone to learn that their mother is dying. What also contributes to Butt’s infuriating reaction was the lack of emotion in the guards comment.
Each prisoner shows a breaking point during their time incarcerated. Each of these scenarios share the dominance that guards have over the prisoners. The guards dictate what the prisoner has to endure and how their lives in prison are run. The lack of living a free life is what causes the prisoners to find some way to escape from Alcatraz.
Showing posts with label Escape From Alcatraz (film). Show all posts
Showing posts with label Escape From Alcatraz (film). Show all posts
Friday, October 8, 2010
Race and Respect in Escape from Alcatraz
As we follow Frank through his discourses and relationships, we see that
interactions the character English always foreground the race issue. In
the library scene, English says he was charged with murder instead of
self-defense because “the dudes were white – just like you [Frank].”
Frank later sits atop English’s and many other Black prisoners’
territory, and declares that he "hates niggers." Clearly there is some
degree of tension. Perhaps because each is so boldly forward, their
relationship soon develops into a silent mutual respect. It starts when
English challenges Frank to a two-person psychological king-of-the-hill
by repeatedly calling him “boy”, an interesting role reversal. Dauntless
Frank calls English “boy” in response, asserting his status relative to
English’s as no less than equal.
We later see a large group of Black people sitting confidently on the stone steps. They seem to own territory. English is at the top of the steps; he plays king of the hill with everyone, it would seem, and he wins among all the Black people. Irreverent Frank walks right through the middle of them. He eventually decides to sit with English, at the same level (he could have hovered above English), and only after being
notified that would be acceptable. So we see respect both ways. Also note how easily White Frank has risen past the vast ranks of Black prisoners. He probably doesn’t see himself as another king among them, though; disdainful Frank only plays that game with English. In his final scene we find (through no cues other than beautiful acting) that “boy” has developed into a sort of nostalgic, personal handshake.
Actually, I might say English is the only person Frank respects out of anyone: he was nice to Doc but perhaps out of pity, and something similar for Litmus; he was leader among the conspirators and would just as easily have left any of them behind. I might also infer that, while he only specifies the group “niggers” as one he hates, he dislikes everyone equally, indiscriminate of such matters as race.
~K.K.
interactions the character English always foreground the race issue. In
the library scene, English says he was charged with murder instead of
self-defense because “the dudes were white – just like you [Frank].”
Frank later sits atop English’s and many other Black prisoners’
territory, and declares that he "hates niggers." Clearly there is some
degree of tension. Perhaps because each is so boldly forward, their
relationship soon develops into a silent mutual respect. It starts when
English challenges Frank to a two-person psychological king-of-the-hill
by repeatedly calling him “boy”, an interesting role reversal. Dauntless
Frank calls English “boy” in response, asserting his status relative to
English’s as no less than equal.
We later see a large group of Black people sitting confidently on the stone steps. They seem to own territory. English is at the top of the steps; he plays king of the hill with everyone, it would seem, and he wins among all the Black people. Irreverent Frank walks right through the middle of them. He eventually decides to sit with English, at the same level (he could have hovered above English), and only after being
notified that would be acceptable. So we see respect both ways. Also note how easily White Frank has risen past the vast ranks of Black prisoners. He probably doesn’t see himself as another king among them, though; disdainful Frank only plays that game with English. In his final scene we find (through no cues other than beautiful acting) that “boy” has developed into a sort of nostalgic, personal handshake.
Actually, I might say English is the only person Frank respects out of anyone: he was nice to Doc but perhaps out of pity, and something similar for Litmus; he was leader among the conspirators and would just as easily have left any of them behind. I might also infer that, while he only specifies the group “niggers” as one he hates, he dislikes everyone equally, indiscriminate of such matters as race.
~K.K.
Thursday, October 7, 2010
The Portrayal of the Guards in "Escape from Alcatraz"
When first think of Alcatraz, it is reasonable that people would associate it with the prisoners it held. True, Alcatraz was "home" to some of the most feared and the most hated people in America. However, the role of guards in this prison should not be overlooked. They spent each day and night with these prisoners. They were a special group of citizens too. In the movie "Escape from Alcatraz", the director shows quite a few interactions between the prisoners and the guards. Through these interactions, the audience acquires an interesting portrayal of the guards.
In order to deal with some of the sliest prisoners in America, it is reasonable to picture the guards as intelligent. However, in this movie the guards seem to be very easily fooled. It might be a result from their arrogance and over-confidence. When Morris is trying to pass the metal detector while carrying two wedges, he brilliantly acts as if his plan is exposed by letting the guard take away the first wedge. Ironically, the guard notes that Morris is stupid from his seemingly simple-minded attempt. Another incidence occurs when a guard stops Morris for a instrument bag check. Morris cleverly dodges the check by tossing the suspicion toward West. From this scene, we see that Morris is the one who is on top of this mental game. He makes the guard think exactly what he wants them to think. He is manipulating the guards.
From the book, we learn that the guards are specially trained to detect any suspicion and see every prisoner as a possible threat. In general, they are still portrayed in the same way in the movie, even though they are fooled by Morris. The guards are shown as very cold-blooded. When a guard shoots a fast stream of cold water through a huge hose to Morris, the word "inhumane" instantly jumps out. Later when another guard takes away Doc's paintings and art equipments, he shows no sign of sympathy. This kind of portrayal is very close to what normal conceptions of the guards would be - cruel and apathetic.
After all, the details the movie adds in addition to the book are very interesting. The additional interactions shown in the movie make the movie much more intense and complex than the original book. The movie "Escape from Alcatraz" does a good job of telling the story of the famous escape and portraying prison life on the island.
In order to deal with some of the sliest prisoners in America, it is reasonable to picture the guards as intelligent. However, in this movie the guards seem to be very easily fooled. It might be a result from their arrogance and over-confidence. When Morris is trying to pass the metal detector while carrying two wedges, he brilliantly acts as if his plan is exposed by letting the guard take away the first wedge. Ironically, the guard notes that Morris is stupid from his seemingly simple-minded attempt. Another incidence occurs when a guard stops Morris for a instrument bag check. Morris cleverly dodges the check by tossing the suspicion toward West. From this scene, we see that Morris is the one who is on top of this mental game. He makes the guard think exactly what he wants them to think. He is manipulating the guards.
From the book, we learn that the guards are specially trained to detect any suspicion and see every prisoner as a possible threat. In general, they are still portrayed in the same way in the movie, even though they are fooled by Morris. The guards are shown as very cold-blooded. When a guard shoots a fast stream of cold water through a huge hose to Morris, the word "inhumane" instantly jumps out. Later when another guard takes away Doc's paintings and art equipments, he shows no sign of sympathy. This kind of portrayal is very close to what normal conceptions of the guards would be - cruel and apathetic.
After all, the details the movie adds in addition to the book are very interesting. The additional interactions shown in the movie make the movie much more intense and complex than the original book. The movie "Escape from Alcatraz" does a good job of telling the story of the famous escape and portraying prison life on the island.
Tuesday, October 5, 2010
The Flower in Escape From Alcatraz
At the beginning of the film, through the use of images and limited narration we learn the dreary life on “The Rock.” We learn how prisons dehumanize their inmates and, according to the sadistic warden, why Alcatraz is, “unlike any other prison in the United States.” There is no form of rehabilitation. All that exists is the monotony and discipline of a prisoner’s life.
Yet out of this dreary, dreaded hole from which no man escapes comes a symbol of hope: a flower. We are first exposed to this flower in the yard during the prisoner’s sole hour of recreation each week. Doc, a venerable, old felon, paints a self-portrait with a flower in his breast pocket. Upon probing by Morris, we learn that it is a metaphor for his spirit. While the warden can take away all of his rights, the one thing they cannot take away from him is his flower. As long as he has his flower, his will to live, and, to some extent, to escape, will continue. To some, this symbolizes the never-ending struggle to escape from the island. Yet, to all, it provides them with a symbol of hope that they too will not wilt under the severity of the penal system.
As the film progresses, we learn that Doc’s flower is watered by his passion for painting. As he puts it, “painting is all I have.” In the film’s most dramatic scene, Doc’s spirit is broken. The warden is offended by a portrait Doc made of him and orders his painting privileges revoked. In a cruel twist of fate, Alcatraz succeeded in taking the only thing Doc had and he retaliated by chopping off his fingers.
After the woodshop fiasco, Morris picks up Doc’s fingers, his flower, and, most importantly, Doc’s cause. It is here that he begins to plot his escape. While Doc’s spirit may be broken, Morris’s is just beginning to build in strength. Unlike Doc, whose will to live was symbolized by the flower, to Morris, the flower expresses his intent to be the first to escape from the island.
At the end of the film, as the search is occurring, the warden discovers a yellow chrysanthemum on Angel Island. We learn that this flower does not grow on the island and remember that part of Morris’s plan involved confusing the authorities by swimming to Angle Island rather than to San Francisco. While the filmmakers do not turn fact into Hollywood fiction, the flower serves as a symbolic suggestion that they made it. However, the result of their escape is left open to interpretation and the audience is left with unresolved issues.
~A.B.
Yet out of this dreary, dreaded hole from which no man escapes comes a symbol of hope: a flower. We are first exposed to this flower in the yard during the prisoner’s sole hour of recreation each week. Doc, a venerable, old felon, paints a self-portrait with a flower in his breast pocket. Upon probing by Morris, we learn that it is a metaphor for his spirit. While the warden can take away all of his rights, the one thing they cannot take away from him is his flower. As long as he has his flower, his will to live, and, to some extent, to escape, will continue. To some, this symbolizes the never-ending struggle to escape from the island. Yet, to all, it provides them with a symbol of hope that they too will not wilt under the severity of the penal system.
As the film progresses, we learn that Doc’s flower is watered by his passion for painting. As he puts it, “painting is all I have.” In the film’s most dramatic scene, Doc’s spirit is broken. The warden is offended by a portrait Doc made of him and orders his painting privileges revoked. In a cruel twist of fate, Alcatraz succeeded in taking the only thing Doc had and he retaliated by chopping off his fingers.
After the woodshop fiasco, Morris picks up Doc’s fingers, his flower, and, most importantly, Doc’s cause. It is here that he begins to plot his escape. While Doc’s spirit may be broken, Morris’s is just beginning to build in strength. Unlike Doc, whose will to live was symbolized by the flower, to Morris, the flower expresses his intent to be the first to escape from the island.
At the end of the film, as the search is occurring, the warden discovers a yellow chrysanthemum on Angel Island. We learn that this flower does not grow on the island and remember that part of Morris’s plan involved confusing the authorities by swimming to Angle Island rather than to San Francisco. While the filmmakers do not turn fact into Hollywood fiction, the flower serves as a symbolic suggestion that they made it. However, the result of their escape is left open to interpretation and the audience is left with unresolved issues.
~A.B.
Monday, October 4, 2010
Morris’s Arrival
Since we already know of his dramatic exit from Alcatraz, it is fitting to make Frank Morris’s entry to Alcatraz more theatrical. From the novel Escape from Alcatraz, J. Bruce Campbell wrote, “No newspaper had reported his arrival, but he would leave in a blaze of front-page banner lines.” This statement holds true for the film adaptation. The film uses various ways to heighten the drama, employing tactics such as weather and music.
A transfer at night adds a level of secrecy, using the cover of darkness as a way to hid from the press. The dim lit scene causes the viewer to play close attention to the few things in that you can clearly see, like Morris and his escorts’ faces. The first close up we see of Morris’s face coincides with the first close up view of Alcatraz. He stares at the island for a while, making the viewer wonder what he is thinking about, wondering if he could potentially be thinking of a way to escape. When he finally arrives on the island, the darkness gives reason for the guards to turn on the large spot light. From the moment he steps foot on Alcatraz, everyone is watching Frank Morris like a hawk.
The music for the opening scene also adds a heightened sense of suspense. The drumming beats are reminiscent of a solider going off to war, like during the Civil War. In a way, Morris is going off to battle, a fight against the prison its self, some of inmates, the warden, and the guards. The drumming continues until he reaches the insides of the prison, where it is replaced by orders from guards.
Another aspect of drama in these opening scene is the weather. The heavy down pour of rain adds another veil of secrecy to the transfer. For the opening, along with rain comes thunder and lightening. The different claps of thunder and flashes of lightening happen in very prominent instances of his transfer. As he turned the corner to the cell block there is a clap of thunder. The thunder is alerting the other prisoner of the new inmate coming down the cell block. As he makes his way down the corridor, the are shadows moving towards the bars of the cells, trying to catch a glimpse of the new man. The final thunder clap come directly after the guard says, “Welcome to Alcatraz.” The last flash of thunder and lightening are a bit cheesy, however also ominous.
For such a quiet man, soft spoken man, Frank Morris took his peaceful transfer to Alcatraz and turned his exit from the island in to an event that has been talked about for years.
~J.G.
A transfer at night adds a level of secrecy, using the cover of darkness as a way to hid from the press. The dim lit scene causes the viewer to play close attention to the few things in that you can clearly see, like Morris and his escorts’ faces. The first close up we see of Morris’s face coincides with the first close up view of Alcatraz. He stares at the island for a while, making the viewer wonder what he is thinking about, wondering if he could potentially be thinking of a way to escape. When he finally arrives on the island, the darkness gives reason for the guards to turn on the large spot light. From the moment he steps foot on Alcatraz, everyone is watching Frank Morris like a hawk.
The music for the opening scene also adds a heightened sense of suspense. The drumming beats are reminiscent of a solider going off to war, like during the Civil War. In a way, Morris is going off to battle, a fight against the prison its self, some of inmates, the warden, and the guards. The drumming continues until he reaches the insides of the prison, where it is replaced by orders from guards.
Another aspect of drama in these opening scene is the weather. The heavy down pour of rain adds another veil of secrecy to the transfer. For the opening, along with rain comes thunder and lightening. The different claps of thunder and flashes of lightening happen in very prominent instances of his transfer. As he turned the corner to the cell block there is a clap of thunder. The thunder is alerting the other prisoner of the new inmate coming down the cell block. As he makes his way down the corridor, the are shadows moving towards the bars of the cells, trying to catch a glimpse of the new man. The final thunder clap come directly after the guard says, “Welcome to Alcatraz.” The last flash of thunder and lightening are a bit cheesy, however also ominous.
For such a quiet man, soft spoken man, Frank Morris took his peaceful transfer to Alcatraz and turned his exit from the island in to an event that has been talked about for years.
~J.G.
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