Im Netz der Gewalt

Maybe the best prison film ever made because its origin is people who were actually in prison, most notably its main author, Miguel Piñero. The film deals with the interrelationship between the prisoners of a cell block. That's what most of the film is, the observation of these men and their culture. The plot of the film is about a new arrival (Bruce Davison) who has been arrested as a suspect on a child molestation charge. He's never been in prison, and he's very afraid, which, of course, he should be. Short Eyes doesn't make any easy choices at all, which makes for a particularly uncomfortable movie to watch. But it also makes it one of the gutsiest and most important films ever made, and it's one of the best movies I've ever seen. It's one of only two movies that I've ever watched twice right in a row. Well, the second time was with commentary by the director (and another man, whose participation in the film I don't exactly know), because I wanted to know exactly how this film came about, and to confirm my guess that there was some kind of inside track to prison life behind the scenes. There was far more than I could have guessed; the commentary also ranks as one of the best I've ever listened to. A masterpiece.

When something feels so real, true to its life in all respects, you get let in and buried beneath its weight. "Short Eyes" is a film that takes straight reality, fills it with characters and words of full realization, and takes you down the corridor of a 1 hour, 39 minute hell. Miguel Pinero wrote a script from a world he knew well, words and people from the dark side of America. No one but a former prisoner could have reflected things so pure and so ugly. Robert M. Young as director sets the scene and understands what the story needs. He lets it happen with the freedom begged for.

I could say a lot more, I suppose, but every event hinges on those surrounding it, so to say much is perhaps having to say all. It's a flat painful experience, leaving you with the title character, played by Bruce Davison. Regardless of who you are or what your sin may be, this character is meant to be you. Watch him, feel his hurt, live his guilt, and he might just reflect a little bit of you back. This is not an easy thing.

Based on a Tony nominated play, this obscure film version is crude, tough stuff about life in the NY Tombs, as the Manhattan Detention Center was known then. And it is an appropriate name for a terrible, seemingly corrupt institution. Despite the acclaim, the play only ran for 80 performances, so it wasn't a hit and surely this grainy little seen film wasn't either, but it's well worth watching if you're up for it. It has a slim storyline of a young white pedophile entering for the first time a facility of mostly hardened Hispanic and Black prisoners and how they do or don't accept him. I say slim storyline as most of the film is simply showing us life in this prison, the inmates and their relationships with each other. It ain't pretty. Most of the people in this all male cast have multiple acting credits, which surprised me as they all seem like the real deal. There is not a performance that doesn't ring true. Miguel Pinero was a prisoner at one time, and I suspect so were most of the cast, and while there he wrote this play though his life was short. He also appears in this film and like the rest, is very authentic. I don't know if this film really has a message other than stay the hell out of jail!

Short Eyes is yet another 70's flick lost until recently in the world of obscure VHS,various licensing and grey market bootlegs. However, it is one of the best dramas of the decade and deserved the DVD re-release.

The story centers about the denizens of "The Tombs", the Men's House of Detention in Manhattan, where it was filmed. Like many other prison-centered scripts, it fleshes out the microcosmic aspect of a isolated society and provides the alternate racial existence on "the inside" (where white is the minority). The story establishes the environment inside, outlining the groups and nearly making the life seem manageable. Then a white middle-class inmate arrives and is quickly exposed by a guard as a accused child molester, or short eyes. The group at large quickly responds as we see what this society really deems offensive.

Along the way we experience religious presence, soulful expression, prison hierarchy, sexual intimidation, mental coercion, utter rage, blinding fear, confiding, alienation and displacement. In other words, the range of emotions from several characters displays to the viewer the depth and severity of how living in a world where entropy is the only constant. There is a passage in the movie where the complete ambivalence of every person becomes evident; there are no longer any allies or any semblance of trust when it is exposed that everyone will take what they want when possible. The guards are an important part of the population but there is no real opposition there- no protagonists to speak of, only a film of corruption over the cruel survivalist scene. Stirring, impassioned material.

While there are no big stars in this, an independent adaptation of Miguel Pinero's early 70's play, it still has some amazing performances. Jose Perez does a stellar job as the one prisoner who can tolerate speaking with the 'short eyes'. Prolific character actor Bruce Davison is outstanding as the conflicted and confused molester, who cannot weather this change of environment. Nathan George, a great character actor who remained busy in the 70's, is in fine form here. Joseph Carberry is the central white inmate and wears his hate and mistrust as a badge of identity. And of course, there is no forgetting the cameos by the late Curtis Mayfield and Freddy Fender. In one group scene, Fender engages in a song ("Break The Dawn") captivating the entire population, an amazing slow soulful track that is matched by the following Mayfield song, "Do Do Wap is Strong In Here". Two smoky, slow-burn tracks sung by two legends that literally soothes the savagery here. A rewindable, unforgettable classic scene.

In an extra note, superb modern Latino actor Luis Guzman appears as an extra here in his first film appearance. Look for him in the above Mayfield/Fender song sequence and in a few other scenes, sporting a blowout afro.

There is ample reason why this is often referred to as a 'prison/horror film' but its really a stark, tense drama. Coupled with the Benjamin Bratt-lead Pinero, this is one of the best ways to get a taste of the lost genius of Miguel Pinero. The DVD issue of Short Eyes features a commentary track by the director along with Leon Ichaso, director of Pinero. Although there is much left open about this masterpiece, the commentary truly adds a lot of miscellaneous info that fans like myself would appreciate. Not to be missed.

Short Eyes is directed by Robert M. Young and written by Miguel Piñero who adapts from his own play. It stars Bruce Davison, Jose Perez, Nathan George, Don Blakely, Curtis Mayfield and Shawn Elliott.

The Tombs, A House of Detention in New York City receives a new prisoner, white middle classed Clark Davis (Davison). He's charged with raping a young girl, quickly identified as a Short Eyes (paedophile) by the other inmates and lined up for hostility from the off. Only one prisoner is prepared to engage Clark in conversation, but with atmosphere on the block already bubbling at breaking point, Clark's innocence or guilt is most likely irrelevant.

One of the most sedate but effective prison based movies out there, Short Eyes comes with realism, intelligence and a conscience. Piñero's play was itself a success, so source was reliable for treatment, what transpires is a tale of prisoners co-existing under trying circumstances. But it's a hornets nest slowly being stirred by pent up sexual frustrations, egos, racial indifference and religion, once the suspected paedophile wanders into the equation you can literally see the tension starting to rise to the surface. Yet director and writer don't go for cliché prison shocks involving violence and rape, they gnaw away at the viewers by letting the hatred and break down of moral codes build by way of rich characterisations and dialogue. It helps greatly that the makers have started the picture off by giving us a solid 20 minutes of character build ups, thus letting us get to know the inhabitants and their place of incarceration.

Unity is powerful, but it can also be ugly.

Some of the monologue's are utterly compelling, delivered with extraordinary conviction by a cast keeping the material real. When the excellent Davison, who I applaud for taking on the sort of role many actors would run from, gets to pour out his words to Juan (Perez), it's most uncomfortable viewing, yet also it's heartbreaking as well. It was here that it dawned on me that Piñero's (himself an ex-convict) characters are not prison film stereotypes, they are complex human beings, neither sympathetic or villainous, and that's a real treat in this particular genre of film. The photography is purposely low-key and the music, mostly arranged by Soul maestro Curtis Mayfield (who also co-stars) eases around the prison walls. Both Mayfield and Freddy Fender get to sing and this acts as means to subdue the pressure cooker like mood.

This is not a prison film for those that need animalistic violence, this is very much a thinking persons prison piece. What violence there is is calmly constructed and acted by director and cast alike. The pivotal moment shocks, and rightly so, but here's the kicker, it doesn't shock as much as the monologue that closes out this most compelling and excellent of movies. 9/10