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1967 American prison drama film directed past Stuart Rosenberg

Cool Paw Luke
Cool Hand Luke Poster.gif

Theatrical release affiche by Nib Gold
Directed by Stuart Rosenberg
Screenplay past
  • Donn Pearce
  • Frank R. Pierson
Based on Cool Hand Luke
by Donn Pearce
Produced by Gordon Carroll
Starring
  • Paul Newman
  • George Kennedy
  • J. D. Cannon
  • Robert Drivas
  • Lou Antonio
  • Strother Martin
  • Jo Van Fleet
Cinematography Conrad Hall
Edited by Sam O'Steen
Music by Lalo Schifrin

Production
company

Jalem Productions
Distributed by Warner Bros.-Vii Arts

Release engagement
  • October 31, 1967 (1967-10-31)

Running time

 126 minutes
State U.s.
Language English
Budget $3.two one thousand thousand[i]
Box office $16.2 million[two]

Absurd Hand Luke is a 1967 American prison drama film directed past Stuart Rosenberg,[3] starring Paul Newman and featuring George Kennedy in an Oscar-winning operation. Newman stars in the championship role as Luke, a prisoner in a Florida prison house camp who refuses to submit to the organization. Set in the early 1950s, it is based on Donn Pearce'southward 1965 novel Absurd Hand Luke.

Roger Ebert called Cool Hand Luke an anti-establishment picture shot during emerging popular opposition to the Vietnam War. Filming took place within California's San Joaquin River Delta region; the set up, imitating a prison house subcontract in the Deep South, was based on photographs and measurements made by a coiffure the filmmakers sent to a Route Prison house in Gainesville, Florida. The film uses Christian imagery.

Upon its release, Absurd Hand Luke received favorable reviews and was a box-office success. It cemented Newman's status as one of the era'southward acme actors, and was called the "touchstone of an era". Newman was nominated for the Academy Accolade for Best Actor, Kennedy won the Academy Award for Best Supporting Actor, Pearce and Pierson were nominated for the Academy Award for Best Adapted Screenplay, and Lalo Schifrin was nominated for the Academy Honour for Best Original Score. In 2005, the United States Library of Congress selected the film for preservation in the National Pic Registry, considering it "culturally, historically, or aesthetically significant".[4] [5] The film has a 100% rating on the review aggregator website Rotten Tomatoes, and the prison house warden'south (Strother Martin) line in the film, which begins with "What we've got here is failure to communicate", was listed at number xi on the American Film Institute'due south 100 Years... 100 Motion picture Quotes listing.

Plot [edit]

In early 1950s Florida, busy Globe War 2 veteran Lucas "Luke" Jackson (Paul Newman) is arrested for cutting parking meters off their poles one drunken night. He is sentenced to two years on a concatenation gang in a prison camp run past a stern warden known as the Captain (Strother Martin), forth with Walking Boss Godfrey (Morgan Woodward), a taciturn rifleman nicknamed "the human being with no eyes" considering he always wears mirrored sunglasses. Carr (Clifton James), the floorwalker, tells the new prisoners the rules. Even minor violations are punished by "a nighttime in the box", a pocket-sized square room with express air and very little room to motility.

Luke refuses to notice the established pecking order amid the prisoners and rapidly runs afoul of the prisoners' leader, Dragline (George Kennedy). When the pair have a boxing match, the prisoners and guards sentinel with interest. Luke is severely outmatched by his larger opponent but refuses to acquiesce. Somewhen, Dragline refuses to continue the fight, but Luke's tenacity earns the prisoners' respect and draws the guards' attention. He later wins a poker game past backbiting with a hand worth nothing. Luke says, "sometimes, naught tin be a real absurd mitt", prompting Dragline to nickname him "Absurd Hand Luke".

Luke and the chain gang stop paving the route

After a visit from his ill mother, Arletta (Jo Van Fleet), Luke becomes more optimistic nigh his situation. He continually confronts the Captain and the guards, and his humor and independence prove both contagious and inspiring to the other prisoners. Luke'southward struggle for supremacy peaks when he leads a piece of work crew in a seemingly impossible but successful effort to complete a road-paving job in less than a day. The other prisoners start to idolize him later he makes and wins a spur-of-the-moment bet that he can eat l hard-boiled eggs in an hour.

One solar day, Luke picks up a rattlesnake from the grassy ditch and holds it up for Godfrey to shoot with his rifle, killing information technology. Luke tosses the dead serpent to the dominate every bit a joke before he hands him his walking cane. Luke tells Godfrey, "Man, you certain can shoot." Dragline advises Luke to be more careful with the "man with no eyes". A rainstorm ends the 24-hour interval's work prematurely. Before he joins the other prisoners in the truck, Luke shouts to God, testing Him. That evening, Luke receives find that his mother has died.

The Captain anticipates that Luke might attempt to escape to nourish his mother'due south funeral and has him locked in the box. After being released, Luke is told to forget about his mother at present that her burial is completed, but he becomes adamant to escape. Under cover of a Quaternary of July celebration, he makes his initial escape attempt. He is recaptured by local police and returned to the concatenation gang, just one of the bloodhounds sent after him dies of oestrus and overexertion. The Captain has Luke fitted with leg irons and delivers a alarm speech communication to the other inmates, saying, "What we've got here is failure to communicate. Some men you only can't reach. So you go what we had here last calendar week, which is the way he wants it. Well, he gets it. And I don't like it any more than you men."

A curt time later, Luke escapes again by deceiving the guards while taking a break to urinate and removes his shackles with an axe at a nearby house. He spreads curry powder and chili powder across the basis to keep the guard dogs from following his odour, causing them to sneeze. While free, Luke mails Dragline a magazine that includes a photograph of himself with two cute women. He is before long recaptured, beaten, returned to the prison house army camp, and fitted with two sets of leg irons. The Captain warns Luke that he will be killed on the spot if he ever attempts to escape over again.

Luke becomes annoyed past the other prisoners fawning over the magazine photograph and says he faked it. At outset, the other prisoners are angry, but when Luke returns later a long stay in the box and is punished by existence forced to eat a massive serving of rice, the others help him end information technology.

Every bit further punishment for his escape, he is forced to repeatedly dig a grave-sized hole in the prison camp yard, fill information technology back in, and is and then beaten. The prisoners observe his persecution, singing spirituals. Finally, as the other prisoners sentry from the windows of the bunkhouse, an wearied Luke collapses in the hole, begging God for mercy and pleading with the bosses not to hit him over again. Believing Luke is finally broken, the Captain stops the penalization. Boss Paul warns Luke that he will be killed if he runs abroad again, which Luke tearfully promises not to do. The prisoners begin to lose their arcadian epitome of Luke, and one tears upwards Luke'due south photograph with the women.

Luke defies the authorities for the last time

Working on the chain gang once more, seemingly broken, Luke stops working to requite water to a prisoner. Watched past the disappointed prisoners, he runs to one of the trucks to fetch Godfrey's burglarize for him. After Godfrey shoots a snapping turtle, Luke retrieves information technology from a slough for him, complimenting him on his shot. Luke is ordered to accept the turtle to the truck only steals the truck and the other trucks' keys. In the excitement of the moment, Dragline jumps in the truck and joins Luke in his escape. Later abandoning the truck, Luke tells Dragline that they should function ways. Dragline reluctantly agrees and leaves. Luke enters a church, where he talks to God, whom Luke blames for sabotaging him so he cannot win in life. Moments later, police cars arrive. Dragline tells Luke that the constabulary and bosses accept found them only promised not to hurt Luke if he surrenders peacefully.

Instead, Luke opens a window door, facing the police, and mocks the Captain by repeating his earlier speech: "What nosotros've got here is a failure to communicate". Godfrey shoots him in the neck. Dragline carries Luke outside and surrenders, just charges at Godfrey and strangles him until he is beaten and subdued by the guards. While Luke is loaded into the Captain's motorcar, Dragline tearfully implores him to alive.

Confronting the local police's protests, the Captain decides to take Luke to the distant prison infirmary instead of the local hospital, ensuring Luke will not survive the trip. Every bit the motorcar drives abroad, a semi-conscious Luke weakly smiles while the tires crush Godfrey's sunglasses. Afterward Luke'southward implied death, Dragline and the other prisoners fondly reminisce about him.

Some time later on, the prison crew works near a rural intersection close to where Luke was shot, with Dragline now wearing leg irons, and a new Walking Boss supervising. Equally the camera zooms out, the torn photograph of Luke smile with the two women has been taped back together and is superimposed on a bird's-eye view of the cross-shaped road junction.

Cast [edit]

  • Paul Newman every bit Lucas "Luke" Jackson
  • George Kennedy every bit "Dragline"
  • Strother Martin equally The Captain
  • Jo Van Fleet every bit Arletta Jackson
  • Joy Harmon as Lucille
  • Morgan Woodward as Walking Dominate / Godfrey
  • Luke Beveled as Boss Paul
  • Robert Donner equally Boss "Shorty"
  • Clifton James as Carr, The Floor Walker
  • John McLiam equally Dominate Cracking
  • Andre Trottier as Boss Popler
  • Charles Tyner as Boss Higgins
  • J. D. Cannon every bit "Social club Red"
  • Lou Antonio as "Koko"
  • Robert Drivas as Steve "Loudmouth Steve"
  • Marc Cavell as "Rabbitt"
  • Richard Davalos as Dick "Blind Dick"
  • Warren Finnerty equally "Tattoo"
  • Dennis Hopper as Babalugats
  • Wayne Rogers every bit "Gambler"
  • Harry Dean Stanton as "Tramp"
  • Ralph Waite equally "Excuse"
  • Anthony Zerbe as "Canis familiaris Boy"
  • Buck Kartalian as "Dynamite"
  • Joe Don Baker as "Fixer" (uncredited)
  • James Gammon every bit "Sleepy" (uncredited)

Production [edit]

Script [edit]

Pearce, a merchant seaman who later became a counterfeiter and prophylactic cracker, wrote the novel Cool Paw Luke about his experiences working on a chain gang while serving in a Florida prison. He sold the story to Warner Bros. for $80,000 and received another $15,000 to write the screenplay.[6] After working in television receiver for over a decade, Rosenberg chose it to go far his directorial debut in cinema. He took the idea to Jalem Productions, owned by Jack Lemmon.[7] Since Pearce had no experience writing screenplays, his draft was reworked by Frank Pierson. Conrad Hall was hired as the cinematographer,[8] while Paul Newman'south blood brother, Arthur, was hired as the unit production director.[ix] Newman's biographer Marie Edelman Borden wrote that the "tough, honest" script drew together threads from earlier movies, peculiarly Hombre, Newman's earlier motion picture of 1967.[x] Rosenberg contradistinct the script'southward original ending, adding "an upbeat ending that would reprise Luke'southward (and Newman's) trademark smile."[11]

Casting [edit]

Paul Newman's character, Luke, is a decorated war veteran who is sentenced to serve two years in a Florida rural prison house. He constantly defies the prison authorities, condign a leader amongst the prisoners, as well as escaping multiple times.[12] While the script was existence developed, the leading office was initially considered for Jack Lemmon or Telly Savalas. Newman asked to play the leading role after hearing about the project. To develop his character, he traveled to West Virginia, where he recorded local accents and surveyed people's behavior.[8] George Kennedy turned in an University Laurels-winning operation as Dragline, who fights Luke and comes to respect him.[13] During the nomination process, worried nearly the box-office success of Camelot and Bonnie and Clyde, Kennedy spent $5,000 on trade advertising to promote himself. He after said that thank you to the award, his bacon was "multiplied by ten the minute [he] won", calculation, "the happiest part was that I didn't take to play only villains anymore".[14]

Strother Martin, known for his appearances in westerns,[xv] was cast as the Captain, a prison warden depicted every bit a cruel and insensitive leader, severely punishing Luke for his escapes.[xvi] The role of Luke's dying mother, Arletta, who visits him in prison, was passed to Jo Van Fleet after it was rejected by Bette Davis.[17] Morgan Woodward was bandage as Dominate Godfrey, a laconic, cruel and remorseless prison officer Woodward described equally a "walking Mephistopheles."[xviii] He was dubbed "the man with no eyes" by the inmates for his mirrored sunglasses.[19] The blonde Joy Harmon was cast for the scene where she teases the prisoners by washing her car after her director, Leon Lance, contacted the producers. She auditioned in forepart of Rosenberg and Newman wearing a bikini, without speaking.[xx]

Filming [edit]

Filming took place on the San Joaquin River Delta.[nine] The gear up, imitating a southern prison farm, was built in Stockton, California.[8] The filmmakers sent a crew to Tavares Road Prison in Tavares, Florida, where Pearce had served his time, to take photographs and measurements.[21] The structures congenital in Stockton included barracks, a mess hall, the warden's quarters, a guard shack and dog kennels. The trees on the ready were decorated with spanish moss that the producers took to the surface area.[9] The construction soon attracted the attention of a canton edifice inspector who confused it with migrant worker housing and ordered it "condemned for code violations".[8] The opening scene where Newman cuts the parking meters was filmed in Lodi, California.[9] The scene in which Luke is chased by bloodhounds and other exteriors were shot in Jacksonville, Florida, at Callahan Road Prison. Luke was played by a stunt role player, using dogs from the Florida Department of Corrections.[21]

Rosenberg wanted the cast to internalize life on a chain gang and banned the presence of wives on set. After Harmon arrived on location, she remained for ii days in her hotel room, and wasn't seen by the balance of the bandage until shooting commenced.[22] Despite Rosenberg's intentions, the scene was ultimately filmed separately.[ix] Rosenberg instructed an unaware Harmon of the different movements and expressions he wanted.[22] Originally planned to be shot in half a day, Harmon'due south scene took iii. For the part of the scene featuring the concatenation gang, Rosenberg substituted a teenage cheerleader, who wore an overcoat.[ix]

Soundtrack [edit]

The University Award-nominated original score was by Lalo Schifrin, who wrote tunes with a background in popular music and jazz.[23] Some tracks include guitars, banjos and harmonicas; others include trumpets, violins, flutes and pianoforte.[24]

An edited version of the musical cue from the Tar Sequence (where the inmates are energetically paving the road) has been used for years as the theme music for local television stations' news programs effectually the world, mostly those owned and operated by ABC in the Us. Although the music was written for the moving picture, it became more familiar for its association with TV news, in part because its staccato tune resembles the sound of a telegraph.[25]

Themes [edit]

Christian imagery [edit]

Pierson included in his draft explicit religious symbolism.[6] The film contains several elements based on Christian themes, including the concept of Luke as a saint who wins over the crowds and is ultimately sacrificed.[26] Luke is portrayed as a "Jesus-like redeemer figure".[27] Later on winning the egg-eating bet, he lies exhausted on the table in the position of Jesus as depicted in his crucifixion, hands outstretched, feet folded over each other. After learning of his mother's death, Luke sings "Plastic Jesus". Greg Garrett also compares Luke to Jesus, in that like Jesus, he was not physically threatening to society because of his actions, and similar Jesus' crucifixion, his punishment was "out of all proportion".[28]

Luke challenges God during the rainstorm on the route, telling Him to do annihilation to him. Later, while he is earthworks and filling trenches and confronted by the guards, Tramp (Harry Dean Stanton) performs the spiritual "No Grave Gonna Go along my Body Downwards".[28] Toward the stop of the film, Luke speaks to God, evoking the conversation between God and Jesus at the Garden of Gethsemane, depicted in the Gospel of Luke.[28] After Luke'southward talk, Dragline functions as a Judas, who delivers Luke to the government, trying to convince him to surrender.[29] In the concluding scene, Dragline eulogizes Luke. He explains that despite Luke'south death, his actions succeeded in defeating the system.[26] The endmost shot shows inmates working on crossroads from far higher up, such that the intersection is in the shape of the cross. Superimposed on this is the repaired photo Luke sent during his second escape, the creases of which also form a cantankerous.[xxx]

Use of traffic signs and signals [edit]

Different traffic signs are used throughout the movie, complementing the characters' actions. At the beginning, while Luke cuts the heads off the parking meters, the word "Violation" appears. Terminate signs are also seen. Instances include the route-paving scene and the concluding scene, where the route meets at a cantankerous department. Traffic lights plough from green to cherry-red in the groundwork at the time Luke is arrested, while at the end, when he is fatally wounded, a green light in the background turns red.[31]

"Failure to communicate" [edit]

Later chirapsia Luke to the ground, the Captain delivers the statement. Towards the cease of the movie, Luke repeats the get-go office of the speech communication.

What we've got here is failure to communicate. Some men yous just can't accomplish. So you become what nosotros had hither terminal week, which is the way he wants it. Well, he gets it. And I don't similar information technology whatsoever more than y'all men. [32]

Later on writing the line, Pierson worried that the phrase was too complex for the warden. To explain its origin, he created a backstory that was included in the stage directions. Pierson explained that in order to advance in the Florida prison organisation, officers had to take criminology and penology courses at the state university, showing how the warden might know such words.[33] Strother Martin afterwards clarified that he felt the line was the kind that his character would very likely take heard or read from some "pointy-headed intellectuals" who had begun to infiltrate his character's globe under the general rubric of a new, enlightened approach to incarceration.[34] Some authors believe that the quotation was a metaphor for the ongoing Vietnam State of war, which was taking place during the filming;[35] others accept practical it to corporations and even teenagers.[36] The quotation was listed at number 11 on the American Film Institute'due south list of the 100 near memorable movie lines.[37]

A sample of the line is included in the Guns N' Roses songs "Civil War" and "Madagascar".[38] Zero Mostel paraphrases the line in The Bully Bank Robbery (1969). When Strother Martin hosted Sat Night Alive on April 19, 1980, he played the strict owner of a language camp for children, parodying his Cool Hand Luke role. He paraphrased his line from the movie as, "What we accept here is failure to communicate BILINGUALLY!"

Release and reception [edit]

Cool Manus Luke opened on October 31, 1967, at Loew'south Land Theatre in New York City. The proceeds of the premiere went to charities.[39] The film was a box-office success,[forty] grossing $16,217,773 in domestic screenings.[41]

Diversity chosen Newman's performance "splendid" and the supporting cast "versatile and competent."[42] The New York Times praised the film, remarking Pearce and Pierson's "precipitous script", Rosenberg's "ruthlessly realistic and plausible" staging and management and Newman'due south "first-class" functioning with an "unfaultable" cast that "elevates" it among other prison films. Kennedy's portrayal was considered "powerfully obsessive" and the actors's playing the prison staff, "blood-spooky".[43] The New York Daily News gave Cool Hand Luke three-and-a-half stars. Reviewer Ann Guarino noted that the flick was based on Pearce's experience working with a concatenation gang and added, "if the cruelties depicted are true, the picture should encourage reforms". Guarino called Newman's acting "excellent" and "charming and likeable", and wrote that "humor is supplied" by Kennedy. She wrote that Arletta was "played outstandingly" past van Armada, that Martin was "effective" as the warden and that the balance of the cast "do well in their roles".[44] For The Boston Globe, Marjory Adams noted that Cool Manus Luke "hits hard, spares no punches, deals with rough, sadistic and unhappy men". The review accounted Newman "tremendously effective", and his portrayal "played with perceptiveness, honesty and compassion". Adams pointed out that "Kennedy stands out every bit unofficial leader of the convicts", she chosen van Fleet's role "brusk but poignant" and Harmon's advent "a masterpiece of woman'southward inhumanity to men". According to Adams, the direction by Rosenberg was "sharp, discerning and realistic".[45]

The Paul Newman grin, the reason why the movie works co-ordinate to Roger Ebert

For the Chicago Tribune, Clifford Terry wrote that the film "works beautifully", adding that it is "sharp, arresting, extremely entertaining". Terry remarked on Newman's "usual competent performance" and the "potent support of the cast", and praised Kennedy, Martin, Askew and Woodward. Van Fleet'due south acting was deemed "masterfully played". Rosenberg's direction was called "diverse" in its "exploration of moods". Terry opined that the "believable, tuned-in dialog" past Pierson and Person and Conrad Hall's "sun-centered photography" created a "bully feeling of the southern discomfort". He felt that "the concluding 10 minutes" that featured Luke's monologue "almost destroy the preceding 110", with the "unlikely" monologue and the "artsy camera shot" of the breaking of the "hating overseer's sunglasses" contributing to the scene's "awkward artificiality". But "everything else works", Terry wrote.[46]

For the Los Angeles Times, reviewer Charles Champlin called the film "remarkably interesting and impressive". He wrote that Cool Paw Luke "has its flaws" that "mar an otherwise special achievement", only that "it still remains an achievement". He felt that the flick was a "triumph" for Newman.[47] Champlin deemed the scene featuring van Fleet a "stunning piece of writing and interim". He chosen the roles of the prison staff "triumphantly hateable" and Kennedy "superb". He called the sequence with Harmon "a scene of fell sexuality" and Schifrin's music "lone and hunting". Champlin felt that Newman's stop monologue was "stagey, sentimental and redundant". He added that Cool Hand Luke "played at the level of observable reality" and that "the intrusion of cinematic artifice seems wholly wrong". He wrote that the filmmakers "had not reckoned their ain force at making their symbolic points" but that the result was "a pic with riveting bear upon".[48]

Time Inc. wrote that "the dazzler comes from the careful edifice of the individuals' characters". Its review said that Rosenberg "tells the story simply and directly", while lamenting the "anti-climatic", "unfortunate montages" at the end of the film.[49] The St. Louis Acceleration praised Kennedy's interim as "raw realism in a fine operation" and Rosenberg's work as "higher up the cut of the ordinary chain-gang motion picture show". The review praised the "fluid camera, working in for telling expressions" that made the prisoners "merge every bit varied and interesting individuals".[50] The Austin American-Statesman called the film "absorbing, well-thought-out". The script was deemed "taut and deftly honed, flavored past humor and perceptive accents" and Rosenberg's direction "smoothly flowing as information technology is brutally realistic and occasionally raw". Newman's functioning was hailed as "sureness as fashion that is totally convincing"; the review concluded that the moving-picture show "tin can be appreciated on whatever level".[51]

Later reviews [edit]

The review aggregator site Rotten Tomatoes gives the film a score of 100% based on reviews by 53 critics, and an average of 8.8/ten. Its disquisitional consensus states, "Though hampered by Stuart Rosenberg'southward management, Absurd Hand Luke is held aloft past a stellar script and one of Paul Newman's virtually enduring performances."[52] Empire rated it five stars out of five, declaring the picture show 1 of Newman'south best performances.[53] Slant rated the motion-picture show three stars out of 4. Information technology described Newman'south role as "iconic", too praising its cinematography and sound score.[54] Allmovie praised Newman's operation equally "one of the most indelible anti-authoritarian heroes in moving-picture show history".[55] Roger Ebert included the film in his review collection The Smashing Movies, rating information technology four stars out of four.[xix] He called information technology a "great" film and also an anti-establishment one during the Vietnam War. He believed the film was a product of its time and that no major film visitor would be interested in producing a film of such "physical penalisation, psychological cruelty, hopelessness and equal parts of sadism and masochism" today. He praised the cinematography, capturing the "punishing oestrus" of the location, and stated that "the physical presence of Paul Newman is the reason this movie works: The smiling, the innocent blueish eyes, the lack of strutting", which no other actor could take produced as effectively.[56]

Newman's biographer Lawrence J. Quirk considered it one of Newman'south weaker performances, writing, "For once, even Newman'southward famed charisma fails him, for in Cool Hand Luke he completely lacks the amuse that, say, Al Pacino in Scarecrow effortlessly exhibits when he plays a screw-upward who as well winds up (briefly) incarcerated."[57] Quirk added that Newman's performance was stronger in the second half: "to be fair to Newman, he was trying his damnedest to play an incommunicable role, since Luke is a convict'southward rationalization fantasy and never a real grapheme".[58] Some authors accept criticized the film's depiction of prison life at the time. In a review called "Sheer Beauty in the Incorrect Place", Life, while praising the film'southward photography, criticized the influence of the visual styles in the depictions of the prison house campsite. The magazine declared that the landscapes turned it into "a rest campsite [in which] the men are getting enough of sleep, nutrient and healthy outdoor do", and that despite the presence of the guards, it showed that there were "worse ways to pay one'southward debt with society".[59] Ron Clooney too remarked that prisons "were not hotels and certainly not the stuff of Absurd Mitt Luke movies".[60]

Awards and nominations [edit]

Legacy [edit]

In 2003, AFI's 100 Years...100 Heroes & Villains rated Luke the 30th-greatest hero in American cinema,[62] and three years later, AFI's 100 Years...100 Cheers: America's Most Inspiring Movies rated Cool Paw Luke number 71.[63] In 2006, Luke was ranked 53rd in Empire magazine's "The 100 Greatest Movie Characters."[64] The motion picture solidified Newman's status equally a box-role star, while the film is considered a touchstone of the era.[65] The film was an inductee of the 2005 National Film Registry list.[66]

The volume was adapted into a Due west Cease play by Emma Reeves. It opened at London'southward Aldwych Theatre starring Marc Warren, but airtight later less than ii months, subsequently poor reviews.[67] The show was called by The Times both as "Critic'south Choice" and "What the Critics Would Pay To Meet".[68]

An episode of the tv show The Dukes of Hazzard titled "Cool Hands Luke and Bo" was shown with Morgan Woodward playing "Colonel Cassius Claiborne" the boss of a neighboring county and warden of its prison farm. He wears the trademark shades of Boss Godfrey throughout the episode.

Nashville-based Christian alternative rock band Cool Manus Luke is named after the film.

See also [edit]

  • List of American films of 1967
  • List of films with a 100% rating on Rotten Tomatoes
  • Prisoner corruption
  • Gospel of Luke

References [edit]

  1. ^ Hannan, Brian (2016). Coming Back to a Theater Near You: A History of Hollywood Reissues, 1914–2014. Jefferson, North Carolina: McFarland & Visitor, Inc., pg. 178, ISBN 978-1-4766-2389-4.
  2. ^ "Cool Hand Luke – Box Office Data, DVD and Blu-ray Sales, Pic News, Cast and Crew Information". The Numbers. Archived from the original on September 28, 2013. Retrieved January 5, 2012.
  3. ^ "Cool Manus Luke". Turner Classic Movies. Archived from the original on February 25, 2016. Retrieved February 29, 2016.
  4. ^ "Librarian of Congress Adds 25 Films to National Film Registry". Library of Congress, Washington, D.C. 20540 The states. Archived from the original on November 26, 2020. Retrieved September 21, 2020.
  5. ^ "Complete National Motion picture Registry List | Film Registry | National Film Preservation Lath | Programs at the Library of Congress | Library of Congress". Library of Congress, Washington, D.C. 20540 United states of america. Archived from the original on March 5, 2016. Retrieved September 21, 2020.
  6. ^ a b Eagan, Daniel 2010, p. 628.
  7. ^ Levy, Shawn 2009, p. 203.
  8. ^ a b c d Levy, Shawn 2009, p. 204.
  9. ^ a b c d e f Nixon, Rob 2010.
  10. ^ Borden 2010, p. 45.
  11. ^ Grant 2008, p. 178.
  12. ^ Dimare, Phillip 2011, p.Cool Hand Luke, p. 106, at Google Books - Cool Hand Luke, p. 107, at Google Books.
  13. ^ Debolt & Baugess 2011, p. 152.
  14. ^ Chocolate-brown, Peter 1981, p. 190.
  15. ^ McKay, James 2010, p. 178.
  16. ^ Langman & Ebner 2001, p. 177.
  17. ^ Reed, John Shelton 2003, p. 196.
  18. ^ Burr, Sherri 2007, p. 19.
  19. ^ a b Ebert, Roger 2010, p. 102.
  20. ^ Lisanti, Tom 2000, p. 114.
  21. ^ a b Florida Section of Corrections 2010.
  22. ^ a b Lisanti, Tom 2000, p. 115, 116.
  23. ^ MacDonald, Laurence 2013, p. 228.
  24. ^ MacDonald, Laurence 2013, p. 230.
  25. ^ Allora, Ruf & Calzadilla 2009, p. 142.
  26. ^ a b Reinhartz, Adele 2012, p. 69 - 72.
  27. ^ Greenspoon, Beau & Hamm 2000, p. 131.
  28. ^ a b c Garrett, Gregg 2007, p. 36 - 40.
  29. ^ May, John 2001, p. 57.
  30. ^ Hook, Sue Vander 2010, p. 56.
  31. ^ Jarvis, Brian 2004, p. 184–187.
  32. ^ "mind". Archived from the original on January 4, 2012. Retrieved May 1, 2012.
  33. ^ Charlotte, Susan 1993, p. 308.
  34. ^ Brode, Douglas 1990, p. 195.
  35. ^ Nolte 2003, p. 285.
  36. ^ DeMar, p. 87.
  37. ^ AFI 2005.
  38. ^ Rasmussen, Eric 1991, p. 74.
  39. ^ Flick Daily staff 1967, p. 195.
  40. ^ Magill, Frank 1983, p. 755.
  41. ^ Nash Information Services staff 2009.
  42. ^ Diversity staff 1966.
  43. ^ Crowther, Bosley 1967, p. 58.
  44. ^ Guarino, Ann 1967, p. 69.
  45. ^ Adams, Marjory 1967, p. 24.
  46. ^ Clifford, Terry 1967, p. S2 - 17.
  47. ^ Champlin, Charles 1967, p. PIV - one.
  48. ^ Champlin, Charles 1967, p. PIV - 23.
  49. ^ Atkins, Eric 1967, p. 11-D.
  50. ^ Standish, Myles 1967, p. 3F.
  51. ^ Bustin, John 1967, p. A27.
  52. ^ Rotten Tomatoes staff 2013.
  53. ^ Empire Magazine staff 2005.
  54. ^ Weber, Neb 2008.
  55. ^ Doberman, Matthew 2009.
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  57. ^ Quirk 2009, p. 154.
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  60. ^ Clooney 2011, p. 231.
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External links [edit]

  • Absurd Paw Luke at the American Picture Plant Itemize
  • Absurd Mitt Luke at IMDb
  • Cool Manus Luke at the TCM Movie Database
  • Cool Hand Luke at AllMovie
  • Absurd Hand Luke at Rotten Tomatoes
  • Absurd Hand Luke essay by Daniel Eagan in America's Film Legacy: The Administrative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 627-629 [1]

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Source: https://en.wikipedia.org/wiki/Cool_Hand_Luke

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