Synopsis:
“Uptight” is an updated remake of John Ford’s 1935 film, “The Informer”. Dublin becomes the Cleveland ghetto and the Irish Republicans are replaced by black revolutionary fighters. Days after the assassination of Martin Luther King, Tank Williams (Julian Mayfield) is an unemployed and itinerant steelworker who turns over his militant friend, Johnny Wells (Max Julien) to the police for $1,000 reward, resulting in an underground all-points bulletin to exact vengeance on the squealer. Legendary director, Jules Dassin’s unrelenting directional pace is complemented by the driving score of Booker T. Jones. The stellar cast includes Raymond St. Jacques, Ruby Dee, Roscoe Lee Browne, and Frank Silvera. Read More »

William K Everson writes:
Brute Force was touted as being by far the toughest and most violent prison film Hollywood had ever made. Many European censors felt the same way and scenes were shortened for overseas release. Actually, the violence is essentially surface violence, and earlier prison films had been rougher in a psychological sense. Nevertheless, with all of those noir icons in the cast and behind the camera (especially Miklos Rosza’s music) the film made a welcome break in the increasingly formularized cycle of big-city crime noir films. Read More »

Quote:
The husband and wife team of director Jules Dassin and actress Melina Mercouri, who first enjoyed international success with the comedy Never on Sunday, collaborated for the last time on this powerful drama. Maya (Melina Mercouri) is a famous actress who is returning to the stage for a production of the classic Greek tragedy Medea, in which she will play the title character, a mother who murders her children. Kostas (Andreas Voutsinas), Maya’s former lover, will be directing Maya in the production, and when he discovers that Brenda (Ellen Burstyn), an American woman, is housed in a nearby Greek prison for killing her offspring, he suggests that Maya should meet Brenda as a means of better understanding her character. Read More »

IMDB:
Frenchwoman Michele de la Becque, an opponent of the Nazis in German-occupied Paris, hides a downed American flyer, Pat Talbot, and attempts to get him safely out of the country. Read More »

Quote:
Marietta, servant of aristocrat Don Cesare, is the bellezza of an Italian town where men gather nightly in the tavern for the ‘game of the Law,’ selecting one by lot to boss and humiliate the others. Illicit passions abound: the judge’s wife pursues Francesco, son of crime boss Matteo, who is after Marietta (so is her brother-in-law); Marietta wants engineer Enrico for a husband, but he claims he’s too poor to marry. So she decides to steal herself a dowry! All this may lead to an explosion…and some changes in who dictates ‘the law.’ (IMDB) Read More »

The meanest, heaviest, most unrelentingly grim hunk of American cinema you’re likely to see– at least prior to 1950– Brute Force is an explosive hybrid mixing aspects of the string of stark prison melodramas that stretch back to the silent era, and the broodingly dark crime dramas that sprung up in the postwar 1940’s that we’ve since come to identify as Film Noir.

One of my personal favorite ‘noir’s of all time, Brute Force features a young, highly flammable Burt Lancaster (in his second film role, his followup to Siodmak’s The Killers, another crime drama produced by Mark Hellinger) in the role of inmate Joe Collins, a part that seems to fit him like a glove. A seething prisoner barely able to contain his rage over his incarceration and the vicious machinations of the warden, Joe dominates the men in his cellblock by the raw power of his presence. Read More »

Quote:
The modern heist movie was invented in Paris in 1954 by Jules Dassin, with “Rififi,” and Jean-Pierre Melville, with “Bob le Flambeur.” Dassin built his film around a 28-minute safe-cracking sequence that is the father of all later movies in which thieves carry out complicated robberies. Working across Paris at the same time, Melville’s film, which translates as “Bob the High Roller,” perfected the plot in which a veteran criminal gathers a group of specialists to make a big score. The Melville picture was remade twice as “Ocean’s Eleven,” and echoes of the Dassin can be found from Kubrick’s “The Killing” to Tarantino’s “Reservoir Dogs.” They both owe something to John Huston’s “The Asphalt Jungle” (1950), which has the general idea but not the attention to detail. Read More »