So many high quality prison melodramas have been on the screen in the last few decades that this one--made in 1930--has to be reviewed in the context of its time. As such, it's a well-written, powerful study of men behind bars, none of whom observes a code of conduct likely to make them good material for rehabilitation.
CHESTER MORRIS is a forger, WALLACE BEERY is a thick-necked bullying murderer and ROBERT MONTGOMERY is a comparative "innocent" with a drunken manslaughter charge against him. They share the same cell and are soon involved in bickering and double-crosses that make up most of the plot contrivances that lead to a prison break where all hell breaks loose. Within the conventions of crime melodramas, this one maintains passable interest today although it lacks the taut tension of more modern prison dramas.
Filmed when sound in film was only two years old, there is virtually no background music at all--a factor which dates the film's style and gives it a static quality during moments where music would have raised the drama to a higher pitch.
CHESTER MORRIS, an interesting actor, is likable and energetic as the man who walks out of prison a free man after helping to contain the riot. ROBERT MONTGOMERY does a fine job as the coward who breaks under the stress of having betrayed another prisoner and LEWIS STONE does a good turn as the warden.
Overall, it's better than average for this sort of thing--well paced despite the lack of background music to emphasize the drama--and worth watching for the performances. Beery is especially good and deserved his Best Actor nomination. Chester Morris is equally impressive in the top-billed assignment, forceful and convincing all the way in a showy role.
But I have to conclude that Warner Bros. seemed to have a better handle than MGM on this sort of tough, stark material. Raoul Walsh's WHITE HEAT ('49)with James Cagney is the best example.
CHESTER MORRIS is a forger, WALLACE BEERY is a thick-necked bullying murderer and ROBERT MONTGOMERY is a comparative "innocent" with a drunken manslaughter charge against him. They share the same cell and are soon involved in bickering and double-crosses that make up most of the plot contrivances that lead to a prison break where all hell breaks loose. Within the conventions of crime melodramas, this one maintains passable interest today although it lacks the taut tension of more modern prison dramas.
Filmed when sound in film was only two years old, there is virtually no background music at all--a factor which dates the film's style and gives it a static quality during moments where music would have raised the drama to a higher pitch.
CHESTER MORRIS, an interesting actor, is likable and energetic as the man who walks out of prison a free man after helping to contain the riot. ROBERT MONTGOMERY does a fine job as the coward who breaks under the stress of having betrayed another prisoner and LEWIS STONE does a good turn as the warden.
Overall, it's better than average for this sort of thing--well paced despite the lack of background music to emphasize the drama--and worth watching for the performances. Beery is especially good and deserved his Best Actor nomination. Chester Morris is equally impressive in the top-billed assignment, forceful and convincing all the way in a showy role.
But I have to conclude that Warner Bros. seemed to have a better handle than MGM on this sort of tough, stark material. Raoul Walsh's WHITE HEAT ('49)with James Cagney is the best example.