nan | 楠木

Cool Hand Luke is one of Paul Newman’s signature films. The film is of an anti-establishment theme, portraying the life of “southern road gangs” (convicts who built and maintained roads). Newman’s titular character, Luke, is a “war hero” who is sent to prison because of damaging public property while under influence (a starkly comical opening scene).

At the camp, Luke finds his fellow inmates to be a bunch of losers who have petty dreams and obediently listens to orders. The gang is lead by Dragline (George Kennedy in a Oscar-winning role, well deserved), a rowdy but sincere illiterate country-man. Dragline dislikes the new kid with the instinctively rebelious heart – and their continuous friction eventually results in a fair round of boxing. Luke is no match for Drag, who is so much bigger than him; but Luke never gives up, and begrudgingly wins Drag’s respect with his big heart. In turn, they become best friends, with Drag taking Luke under his wings and fondly calling him “my boy”.

Luke seems to be content with prison life – he longs for physical freedom, but he is able to find enjoyment in the trivialities (for example handily winning a bet that he can eat 50 eggs in an hour – one of the film’s most memorable scenes). And his soul was free. However, when Luke gets news of his mother’s passing, he starts to become restless. He now yearns for real freedom – and for the remaining half of the film, it is a struggle between his will and the social authorities that imprisons him.

In many ways, Luke is a recurring character in films. Jack Nicholson would have a similar role 8 years later, as R.P. McMurphy in One Flew Over the Cuckoo’s Nest; another decade later, Tim Robbins would win the world over as Andy Dufresne in The Shawshank Redemption. There are definitely similarities to be drawn. These films all feature a rebelious and brave character – the definitive protagonist really – that just wouldn’t back down from the world’s absurd rules and brazen injustices; and their narratives, regardless of whether the protagonist “wins” or “loses” at the end, all force the audience to reflect on what is “normal” and what is “right”, and makes us ponder whether we are cowards at heart or willing to stand up when common sense – and not “social norms” – tells us that something is wrong.

And these films all have a fantastically talented actor at their career best. Paul Newman is an actor that I have not had the privilege of seeing more, and I am fascinated by his depth, diversity and intensity. This film is so much his personal stage – and in every scene he is simply outstanding.

8/10