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That’s the acknowledge that Luke Jackson (Paul Newman) gives when asked why the heck he was wrenching off the tops of all those parking meters. The first shot of the movie, in fact, shows his handiwork — a whole row of decapitated meters sticking up out of the sidewalk.
He’s one unusual boy, this Luke. He hardly even seems to care he’s in stride for having done this. To him a work farm impartial seems like another set for him to wait for something fascinating to happen — and when it does (as it always does), there’s that expansive, idle smile of his. Was he waiting for something? Probably not — by the time it’s all over, he hasn’t gotten a single thing he wanted (except for a hilarious out-of-town stint), but he’s given a lot of other people more than they could have ever asked.
What makes “Icy Hand Luke” such a fantastic movie is its tone and tenor — widely imitated but not surpassed by other movies of its stripe. The movie is not about prison or chain gangs, but about the weather of a man’s spirit, and how he deals (or chooses not to deal) with what he’s been handed. Luke himself says it: “Sometimes nothing can be a loyal icy hand,” and he sums himself up in that sentence. Here is a fellow with no particular skills in life, no dependable direction, no ambition — in short, something we are ostensibly taught from the git-go to despise. His crime? Parking meters.
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The film draws a simple case: Luke as a quietly selfish free spirit vs. the system. But instead of loading it down with symbolic baggage, the movie works by making its case with drama and often large humor. The egg-eating contest, for instance — it finds unbiased the correct balance between humor and drama to compose its points, and ends with Luke passed out on the bed in a Christlike pose. (Whether or not that’s a deliberate shot is originate to speculation; it certainly looks like it was mild, but it’s not held too long to force the inform on us.)
The best thing about the movie is the performances. Nobody hits a fraudulent stamp or an unconvincing turn. A mammoth chunk of George Kennedy’s reputation comes from this film, and you can behold why: he’s more or less the stammer foil for Paul Newman throughout the movie, commenting on and playing off the man’s actions. But glance how many others are also in here: Strother Martin (as Captain), Dennis Hopper, Harry Dean Stanton… a veritable roll-call of actors who’re all independently watchable and spicy.
This movie is anything but frigid. The characters are rough, bad, and awkward. The setting is realistic and harsh. It takes spot in the scorching sun and humidity. There’s many a scene of sweat and overheating men. Luke, though, is cold. He’s the figure of composure; he’s classy, intelligent, proud, and witty, but he rarely talks, keeping unexcited. Or he’s independent free man who won’t let anyone glean him down.
There’s a scene when he bluffs his draw to victory in a poker match, thus his nickname “frosty hand Luke”. Another scene has him fighting with another inmate until he’s nearly unconscious, but he never surrenders. Yet another has him eating 50 eggs in an hour for a bet, and he doesn’t give up. And I believe this is the metaphor for the rest of the film. You can either inspect him as a cocky stubborn man, or more appropriately, a man who won’t give up his freedom. He’s thrown in prison and chain gang labor for a case of petty vandalism during a drunken stupor, yet he never utters a word about it, even during the most humiliating or painful punishment, but his conviction and sentence are hardly a matter in this film. Here is a man who is vexed and dysfunctional (as the fable slightly exposes), but is already in an advanced set of personal freedom. Though he’d like to be living a normal life, searches for it, and deserves as considerable, he doesn’t need it. He’s spiritually and mentally invincible, and eventually it leads to his ultimate fate.
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Cool Hand Luke is a splendid film. It’s one fourth romantic, three fourths gritty reality. Paul Newman and the lovely cinematography are the romance. Newman nearly carries the film. Here’s this movie star, a charismatic leading man who liberally uses his smile to win himself through scenes, but he immerses himself into his character. I believe Luke is one of the greatest, most complex male characters to grace the cover, and Newman is really the only actor who could ever do him justice. But he isn’t playing Newman, he’s playing Luke, every waddle of Luke. He IS Luke, he is this renegade rebel, this charming smart Dan, and this tragic everyman. Newman’s supporting cast is great, in one of the best acted films I’ve ever seen. George Kennedy is wonderful as the only broad supporting character, though the rest of the cast do their utmost to fit their roles, especially the various unfriendly and slimy wardens, and they do it beautifully. No actor wastes his time on conceal. They construct the atmosphere.
I fair have to mention the dialogue. This is one of those films with extraordinary dialogue. Nothing is sappy or soupy. It embraces wit and logic, a gorgeous razor sharpness, and a down to earth realism. Every sentence is perfectly placed, there are no superfluous words, every character with they’re acquire style that unruffled allow them to sound like true people. Waste of dialogue discussion.
This film is simple. It’s simply told, simply filmed, and on the outside it’s a simple sage, but I contemplate it delves a lot deeper than at first appearance. It’s unpretentious. Without us sparkling it paints an environment, it paints a setting. It’s a movie with obvious faintly stylized points and flourishes, with a bit of a Southern storytelling air and lilt to it, and a sure savor for fun. But it’s intense, from the acting, to state twists and character developements, to minor “action” sequences (a movie populated by inmates and movie stars has to have some excitement), it has astonishing depth in it’s subtle symbolism and it’s layered messages and it’s performances with their emotional tapestries. Thus, it has an broad replayability quotient.
This is drama at it’s finest. It is a complex engrossing film that can win under your skin in it’s rawness, but can aloof entertain you, and send you into that dreamy mesmerized set of being in terror of a film and the characters portrayed in it.
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