Home  ›  What We Have Here Is Failure to Communicate Gif

What We Have Here Is Failure to Communicate Gif

Written By Saturday, 2 April 2022 Add Comment Edit

1967 American prison house drama film directed by Stuart Rosenberg

Cool Hand Luke
Cool Hand Luke Poster.gif

Theatrical release affiche by Bill Gilded
Directed by Stuart Rosenberg
Screenplay past
  • Donn Pearce
  • Frank R. Pierson
Based on Absurd 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.-Seven Arts

Release date
  • Oct 31, 1967 (1967-ten-31)

Running time

 126 minutes
Country Us
Language English language
Upkeep $3.2 million[1]
Box office $sixteen.two million[ii]

Cool Hand Luke is a 1967 American prison drama movie directed by Stuart Rosenberg,[three] starring Paul Newman and featuring George Kennedy in an Oscar-winning functioning. Newman stars in the title role equally Luke, a prisoner in a Florida prison campsite who refuses to submit to the system. Ready in the early 1950s, information technology is based on Donn Pearce'southward 1965 novel Absurd Hand Luke.

Roger Ebert chosen Cool Hand Luke an anti-establishment motion-picture show shot during emerging popular opposition to the Vietnam State of war. Filming took place inside California's San Joaquin River Delta region; the ready, imitating a prison farm in the Deep S, was based on photographs and measurements made by a crew the filmmakers sent to a Road Prison in Gainesville, Florida. The film uses Christian imagery.

Upon its release, Cool Hand Luke received favorable reviews and was a box-role success. It cemented Newman'southward status as one of the era'due south summit actors, and was called the "touchstone of an era". Newman was nominated for the University Honor for Best Role player, Kennedy won the Academy Award for Best Supporting Actor, Pearce and Pierson were nominated for the Academy Honour for Best Adjusted Screenplay, and Lalo Schifrin was nominated for the Academy Honor for Best Original Score. In 2005, the United States Library of Congress selected the motion-picture show for preservation in the National Film Registry, considering information technology "culturally, historically, or aesthetically significant".[4] [5] The film has a 100% rating on the review aggregator website Rotten Tomatoes, and the prison warden's (Strother Martin) line in the moving picture, which begins with "What nosotros've got here is failure to communicate", was listed at number eleven on the American Film Establish's 100 Years... 100 Movie Quotes list.

Plot [edit]

In early on 1950s Florida, decorated World State of war II veteran Lucas "Luke" Jackson (Paul Newman) is arrested for cutting parking meters off their poles 1 drunken night. He is sentenced to 2 years on a chain gang in a prison house camp run by a stern warden known as the Captain (Strother Martin), along with Walking Boss Godfrey (Morgan Woodward), a taciturn rifleman nicknamed "the man with no optics" because he ever wears mirrored sunglasses. Carr (Clifton James), the floorwalker, tells the new prisoners the rules. Fifty-fifty minor violations are punished past "a night in the box", a small square room with limited air and very little room to move.

Luke refuses to observe the established pecking order amidst the prisoners and speedily runs afoul of the prisoners' leader, Dragline (George Kennedy). When the pair have a battle match, the prisoners and guards sentry with interest. Luke is severely outmatched by his larger opponent but refuses to acquiesce. Eventually, Dragline refuses to go along the fight, but Luke'southward tenacity earns the prisoners' respect and draws the guards' attending. He later on wins a poker game by backbiting with a hand worth nothing. Luke says, "sometimes, nothing can be a real absurd manus", prompting Dragline to nickname him "Cool Mitt Luke".

Luke and the chain gang finish paving the route

After a visit from his sick mother, Arletta (Jo Van Fleet), Luke becomes more optimistic about his situation. He continually confronts the Helm and the guards, and his sense of sense of humour and independence bear witness both contagious and inspiring to the other prisoners. Luke'southward struggle for supremacy peaks when he leads a work crew in a seemingly incommunicable simply successful effort to complete a road-paving task in less than a twenty-four hour period. The other prisoners start to idolize him after he makes and wins a spur-of-the-moment bet that he tin can eat 50 difficult-boiled eggs in an hour.

One 24-hour interval, Luke picks upwards a rattlesnake from the grassy ditch and holds it up for Godfrey to shoot with his rifle, killing it. Luke tosses the dead ophidian to the boss as a joke earlier he hands him his walking cane. Luke tells Godfrey, "Homo, you lot sure can shoot." Dragline advises Luke to be more careful with the "man with no eyes". A rainstorm ends the twenty-four hours'southward work prematurely. Before he joins the other prisoners in the truck, Luke shouts to God, testing Him. That evening, Luke receives observe that his mother has died.

The Captain anticipates that Luke might attempt to escape to attend his mother'southward funeral and has him locked in the box. After beingness released, Luke is told to forget about his mother now that her burial is completed, only he becomes determined to escape. Under embrace of a Fourth of July celebration, he makes his initial escape endeavor. He is recaptured past local constabulary and returned to the chain gang, but one of the bloodhounds sent later on him dies of estrus and overexertion. The Helm has Luke fitted with leg irons and delivers a alert spoken language to the other inmates, saying, "What nosotros've got here is failure to communicate. Some men you lot just can't reach. And so you get what we had hither last calendar week, which is the way he wants it. Well, he gets information technology. And I don't like information technology whatever more y'all men."

A short time after, Luke escapes again by deceiving the guards while taking a intermission to urinate and removes his shackles with an axe at a nearby house. He spreads curry powder and chili powder across the footing to keep the guard dogs from post-obit his scent, causing them to sneeze. While free, Luke mails Dragline a magazine that includes a photograph of himself with two beautiful women. He is soon recaptured, beaten, returned to the prison camp, and fitted with ii sets of leg irons. The Captain warns Luke that he will be killed on the spot if he ever attempts to escape again.

Luke becomes annoyed by the other prisoners fawning over the magazine photo and says he faked it. At commencement, the other prisoners are aroused, but when Luke returns after a long stay in the box and is punished by being forced to eat a massive serving of rice, the others help him finish information technology.

Equally farther punishment for his escape, he is forced to repeatedly dig a grave-sized hole in the prison camp yard, fill up it dorsum in, and is then beaten. The prisoners observe his persecution, singing spirituals. Finally, every bit the other prisoners watch from the windows of the bunkhouse, an exhausted Luke collapses in the hole, begging God for mercy and pleading with the bosses non to hit him again. Believing Luke is finally broken, the Captain stops the punishment. Dominate Paul warns Luke that he will be killed if he runs away again, which Luke tearfully promises not to do. The prisoners begin to lose their idealized image of Luke, and one tears up Luke's photo with the women.

Luke defies the authorities for the last time

Working on the chain gang again, seemingly broken, Luke stops working to give water to a prisoner. Watched by the disappointed prisoners, he runs to one of the trucks to fetch Godfrey'due south rifle for him. Subsequently Godfrey shoots a snapping turtle, Luke retrieves it from a slough for him, complimenting him on his shot. Luke is ordered to take 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. After abandoning the truck, Luke tells Dragline that they should part 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 on, law cars get in. Dragline tells Luke that the police and bosses have establish them only promised not to hurt Luke if he surrenders peacefully.

Instead, Luke opens a window door, facing the police, and mocks the Helm by repeating his earlier spoken communication: "What we've got here is a failure to communicate". Godfrey shoots him in the cervix. Dragline carries Luke exterior and surrenders, only charges at Godfrey and strangles him until he is beaten and subdued past the guards. While Luke is loaded into the Captain'southward car, Dragline tearfully implores him to live.

Against 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. As the car drives away, a semi-witting Luke weakly smiles while the tires shell Godfrey's sunglasses. Afterward Luke's implied death, Dragline and the other prisoners fondly reminisce about him.

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

Bandage [edit]

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

Production [edit]

Script [edit]

Pearce, a merchant seaman who later became a counterfeiter and rubber cracker, wrote the novel Cool Hand 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 some other $fifteen,000 to write the screenplay.[6] After working in television set for over a decade, Rosenberg chose it to brand information technology his directorial debut in cinema. He took the thought 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,[viii] while Paul Newman's brother, Arthur, was hired as the unit production manager.[9] Newman's biographer Marie Edelman Borden wrote that the "tough, honest" script drew together threads from earlier movies, especially Hombre, Newman'south earlier film of 1967.[ten] Rosenberg altered the script's original ending, adding "an upbeat ending that would reprise Luke's (and Newman's) trademark smile."[11]

Casting [edit]

Paul Newman's character, Luke, is a decorated state of war veteran who is sentenced to serve ii years in a Florida rural prison. He constantly defies the prison house authorities, becoming a leader among the prisoners, every bit well every bit escaping multiple times.[12] While the script was existence adult, the leading role was initially considered for Jack Lemmon or Telly Savalas. Newman asked to play the leading role later on hearing about the project. To develop his grapheme, he traveled to Westward Virginia, where he recorded local accents and surveyed people's behavior.[8] George Kennedy turned in an Academy Honour-winning performance as Dragline, who fights Luke and comes to respect him.[13] During the nomination process, worried about the box-office success of Camelot and Bonnie and Clyde, Kennedy spent $v,000 on trade advertisement to promote himself. He afterward said that thanks to the award, his salary was "multiplied by ten the infinitesimal [he] won", adding, "the happiest part was that I didn't accept to play simply villains anymore".[14]

Strother Martin, known for his appearances in westerns,[15] was cast every bit the Captain, a prison warden depicted equally a brutal and insensitive leader, severely punishing Luke for his escapes.[sixteen] The role of Luke'due south dying female parent, Arletta, who visits him in prison, was passed to Jo Van Armada afterward it was rejected by Bette Davis.[17] Morgan Woodward was bandage as Dominate Godfrey, a laconic, cruel and remorseless prison officer Woodward described as a "walking Mephistopheles."[18] He was dubbed "the man with no eyes" by the inmates for his mirrored sunglasses.[xix] The blonde Joy Harmon was cast for the scene where she teases the prisoners by washing her automobile after her manager, Leon Lance, contacted the producers. She auditioned in front of Rosenberg and Newman wearing a bikini, without speaking.[twenty]

Filming [edit]

Filming took place on the San Joaquin River Delta.[9] The set, imitating a southern prison farm, was built in Stockton, California.[viii] The filmmakers sent a crew to Tavares Road Prison house in Tavares, Florida, where Pearce had served his time, to take photographs and measurements.[21] The structures built in Stockton included barracks, a mess hall, the warden's quarters, a guard shack and dog kennels. The trees on the set were decorated with castilian moss that the producers took to the area.[9] The construction before long attracted the attention of a canton building 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 actor, using dogs from the Florida Department of Corrections.[21]

Rosenberg wanted the bandage to internalize life on a concatenation gang and banned the presence of wives on set. Later Harmon arrived on location, she remained for two days in her hotel room, and wasn't seen by the remainder of the cast until shooting commenced.[22] Despite Rosenberg's intentions, the scene was ultimately filmed separately.[ix] Rosenberg instructed an unaware Harmon of the unlike movements and expressions he wanted.[22] Originally planned to exist shot in one-half a day, Harmon's scene took three. For the part of the scene featuring the chain gang, Rosenberg substituted a teenage cheerleader, who wore an overcoat.[9]

Soundtrack [edit]

The Academy 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 piano.[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 every bit the theme music for local television stations' news programs effectually the globe, by and large those owned and operated past ABC in the United States. Although the music was written for the picture show, it became more than familiar for its association with TV news, in part because its staccato melody resembles the sound of a telegraph.[25]

Themes [edit]

Christian imagery [edit]

Pierson included in his draft explicit religious symbolism.[vi] 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] After 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 female parent's death, Luke sings "Plastic Jesus". Greg Garrett likewise compares Luke to Jesus, in that like Jesus, he was not physically threatening to guild because of his actions, and like Jesus' crucifixion, his punishment was "out of all proportion".[28]

Luke challenges God during the rainstorm on the road, telling Him to practice anything to him. Later, while he is digging and filling trenches and confronted by the guards, Tramp (Harry Dean Stanton) performs the spiritual "No Grave Gonna Go along my Body Down".[28] Toward the end of the motion-picture show, Luke speaks to God, evoking the conversation between God and Jesus at the Garden of Gethsemane, depicted in the Gospel of Luke.[28] Subsequently Luke's talk, Dragline functions equally a Judas, who delivers Luke to the government, trying to convince him to surrender.[29] In the final scene, Dragline eulogizes Luke. He explains that despite Luke's death, his deportment succeeded in defeating the system.[26] The endmost shot shows inmates working on crossroads from far above, 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 as well form a cross.[30]

Use of traffic signs and signals [edit]

Different traffic signs are used throughout the film, complementing the characters' actions. At the offset, while Luke cuts the heads off the parking meters, the give-and-take "Violation" appears. Stop signs are also seen. Instances include the route-paving scene and the final scene, where the road meets at a cross department. Traffic lights turn from light-green to red in the background at the fourth dimension 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]

Afterwards beating Luke to the footing, the Captain delivers the argument. Towards the end of the motion picture, Luke repeats the first part of the spoken language.

What we've got here is failure to communicate. Some men you lot merely tin can't reach. So you get what we had hither last week, which is the way he wants information technology. Well, he gets it. And I don't similar it any more than y'all men. [32]

After 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 phase directions. Pierson explained that in order to accelerate in the Florida prison organisation, officers had to take criminology and penology courses at the land academy, showing how the warden might know such words.[33] Strother Martin afterwards antiseptic that he felt the line was the kind that his character would very likely have heard or read from some "pointy-headed intellectuals" who had begun to infiltrate his character's globe nether the full general rubric of a new, enlightened approach to incarceration.[34] Some authors believe that the quotation was a metaphor for the ongoing Vietnam War, which was taking identify during the filming;[35] others have practical it to corporations and even teenagers.[36] The quotation was listed at number 11 on the American Pic Found's list of the 100 most memorable movie lines.[37]

A sample of the line is included in the Guns N' Roses songs "Ceremonious War" and "Madagascar".[38] Nothing Mostel paraphrases the line in The Great Banking company Robbery (1969). When Strother Martin hosted Saturday Nighttime Alive on April 19, 1980, he played the strict owner of a language military camp for children, parodying his Cool Hand Luke function. He paraphrased his line from the movie as, "What we take here is failure to communicate BILINGUALLY!"

Release and reception [edit]

Cool Hand Luke opened on Oct 31, 1967, at Loew's Land Theatre in New York City. The proceeds of the premiere went to charities.[39] The moving-picture show was a box-part success,[40] grossing $xvi,217,773 in domestic screenings.[41]

Variety chosen Newman's performance "excellent" and the supporting cast "versatile and competent."[42] The New York Times praised the picture show, remarking Pearce and Pierson's "sharp script", Rosenberg'due south "ruthlessly realistic and plausible" staging and management and Newman's "splendid" operation with an "unfaultable" bandage that "elevates" it amidst 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 iii-and-a-half stars. Reviewer Ann Guarino noted that the film was based on Pearce'south experience working with a chain gang and added, "if the cruelties depicted are true, the flick 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 Fleet, that Martin was "effective" as the warden and that the remainder of the bandage "do well in their roles".[44] For The Boston Globe, Marjory Adams noted that Absurd Hand Luke "hits hard, spares no punches, deals with rough, sadistic and unhappy men". The review deemed Newman "tremendously effective", and his portrayal "played with perceptiveness, honesty and compassion". Adams pointed out that "Kennedy stands out as unofficial leader of the convicts", she called van Fleet'southward role "short just poignant" and Harmon's appearance "a masterpiece of woman's inhumanity to men". According to Adams, the management past Rosenberg was "sharp, discerning and realistic".[45]

The Paul Newman smile, the reason why the movie works according to Roger Ebert

For the Chicago Tribune, Clifford Terry wrote that the film "works beautifully", adding that it is "abrupt, absorbing, extremely entertaining". Terry remarked on Newman'south "usual competent performance" and the "strong support of the cast", and praised Kennedy, Martin, Askew and Woodward. Van Fleet's acting was deemed "masterfully played". Rosenberg'south direction was called "diverse" in its "exploration of moods". Terry opined that the "believable, tuned-in dialog" by Pierson and Person and Conrad Hall'south "sun-centered photography" created a "corking feeling of the southern discomfort". He felt that "the final x minutes" that featured Luke'due south monologue "about 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". Merely "everything else works", Terry wrote.[46]

For the Los Angeles Times, reviewer Charles Champlin called the moving-picture show "remarkably interesting and impressive". He wrote that Cool Hand Luke "has its flaws" that "mar an otherwise special achievement", merely that "it still remains an accomplishment". He felt that the film was a "triumph" for Newman.[47] Champlin deemed the scene featuring van Armada a "stunning piece of writing and acting". He chosen the roles of the prison staff "triumphantly hateable" and Kennedy "superb". He called the sequence with Harmon "a scene of cruel sexuality" and Schifrin'due south music "alone and hunting". Champlin felt that Newman'due south end monologue was "stagey, sentimental and redundant". He added that Cool Mitt Luke "played at the level of observable reality" and that "the intrusion of cinematic artifice seems wholly wrong". He wrote that the filmmakers "had non reckoned their own strength at making their symbolic points" just that the result was "a film with riveting impact".[48]

Time Inc. wrote that "the beauty comes from the careful building of the individuals' characters". Its review said that Rosenberg "tells the story just and directly", while lamenting the "anti-climatic", "unfortunate montages" at the end of the film.[49] The St. Louis Dispatch praised Kennedy's acting as "raw realism in a fine functioning" and Rosenberg's work as "higher up the cutting of the ordinary chain-gang motion picture". The review praised the "fluid camera, working in for telling expressions" that made the prisoners "merge as varied and interesting individuals".[l] The Austin American-Statesman called the film "absorbing, well-thought-out". The script was deemed "taut and deftly honed, flavored by sense of humor and perceptive accents" and Rosenberg's management "smoothly flowing as information technology is brutally realistic and occasionally raw". Newman'south functioning was hailed every bit "sureness as style that is totally convincing"; the review concluded that the film "tin can be appreciated on any 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 viii.8/10. Its critical consensus states, "Though hampered by Stuart Rosenberg'south direction, Absurd Hand Luke is held aloft past a stellar script and i of Paul Newman's most enduring performances."[52] Empire rated it 5 stars out of v, declaring the movie one of Newman's best performances.[53] Camber rated the film three stars out of 4. It described Newman's part as "iconic", besides praising its cinematography and audio score.[54] Allmovie praised Newman'south performance as "one of the most enduring anti-authoritarian heroes in movie history".[55] Roger Ebert included the film in his review collection The Great Movies, rating information technology four stars out of four.[19] He called information technology a "smashing" moving-picture show 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 picture show of such "physical penalisation, psychological cruelty, hopelessness and equal parts of sadism and masochism" today. He praised the cinematography, capturing the "punishing heat" of the location, and stated that "the concrete presence of Paul Newman is the reason this movie works: The smile, the innocent blue eyes, the lack of strutting", which no other player could have produced as effectively.[56]

Newman'south biographer Lawrence J. Quirk considered information technology 1 of Newman's weaker performances, writing, "For once, fifty-fifty Newman's famed charisma fails him, for in Cool Hand Luke he completely lacks the charm that, say, Al Pacino in Scarecrow effortlessly exhibits when he plays a spiral-up who also winds up (briefly) incarcerated."[57] Quirk added that Newman's functioning was stronger in the second half: "to exist off-white to Newman, he was trying his damnedest to play an impossible role, since Luke is a convict'south rationalization fantasy and never a real character".[58] Some authors have criticized the film'southward depiction of prison life at the time. In a review called "Sheer Beauty in the Wrong Identify", Life, while praising the film'south photography, criticized the influence of the visual styles in the depictions of the prison house camp. The mag declared that the landscapes turned information technology into "a rest army camp [in which] the men are getting plenty of slumber, food and good for you outdoor exercise", and that despite the presence of the guards, it showed that there were "worse ways to pay one's debt with society".[59] Ron Clooney also remarked that prisons "were not hotels and certainly non the stuff of Cool Hand 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 movie house,[62] and iii years later on, AFI'south 100 Years...100 Cheers: America's Well-nigh Inspiring Movies rated Cool Manus Luke number 71.[63] In 2006, Luke was ranked 53rd in Empire mag'south "The 100 Greatest Movie Characters."[64] The movie solidified Newman's status equally a box-office star, while the film is considered a touchstone of the era.[65] The film was an inductee of the 2005 National Film Registry listing.[66]

The book was adapted into a West End play by Emma Reeves. It opened at London'south Aldwych Theatre starring Marc Warren, but closed after less than two months, after poor reviews.[67] The show was chosen by The Times both as "Critic's Option" and "What the Critics Would Pay To See".[68]

An episode of the television testify The Dukes of Hazzard titled "Cool Easily Luke and Bo" was shown with Morgan Woodward playing "Colonel Cassius Claiborne" the dominate 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 Hand Luke is named after the film.

See likewise [edit]

  • Listing 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 lot: A History of Hollywood Reissues, 1914–2014. Jefferson, North Carolina: McFarland & Company, Inc., pg. 178, ISBN 978-1-4766-2389-4.
  2. ^ "Cool Hand Luke – Box Office Information, DVD and Blu-ray Sales, Movie News, Cast and Crew Information". The Numbers. Archived from the original on September 28, 2013. Retrieved January 5, 2012.
  3. ^ "Cool Mitt Luke". Turner Archetype 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 Usa. Archived from the original on November 26, 2020. Retrieved September 21, 2020.
  5. ^ "Complete National Motion-picture show Registry Listing | Movie Registry | National Film Preservation Lath | Programs at the Library of Congress | Library of Congress". Library of Congress, Washington, D.C. 20540 USA. 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 east f Nixon, Rob 2010.
  10. ^ Borden 2010, p. 45.
  11. ^ Grant 2008, p. 178.
  12. ^ Dimare, Phillip 2011, p.Absurd Hand Luke, p. 106, at Google Books - Cool Hand Luke, p. 107, at Google Books.
  13. ^ Debolt & Baugess 2011, p. 152.
  14. ^ Dark-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 Department 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 - xl.
  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. ^ Film Daily staff 1967, p. 195.
  40. ^ Magill, Frank 1983, p. 755.
  41. ^ Nash Information Services staff 2009.
  42. ^ Variety 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 - 1.
  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, Bill 2008.
  55. ^ Doberman, Matthew 2009.
  56. ^ "Cool Hand Luke". Rogerebert.com. Archived from the original on June 2, 2013. Retrieved Oct twenty, 2013.
  57. ^ Quirk 2009, p. 154.
  58. ^ Quirk 2009, p. 155.
  59. ^ Schickel, Richard 1967, p.Cool Hand Luke, p. 10, at Google Books.
  60. ^ Clooney 2011, p. 231.
  61. ^ Nixon, Rob 2013.
  62. ^ AFI 2003.
  63. ^ AFI 2007.
  64. ^ Empire Magazine staff ii 2005.
  65. ^ DiLeo, John 2010, p. 73.
  66. ^ "Archived copy". Archived from the original on May 20, 2017. Retrieved Apr 16, 2016. {{cite web}}: CS1 maint: archived re-create as title (link) | accessed 3/xviii/2018.
  67. ^ Trueman, Matt 2011.
  68. ^ Purves, Libby 2011.

Sources [edit]

  • Adams, Marjory (November xiii, 1967). "Powerful Story of Chain Gang Pulls No Punches". The Boston Globe. Archived from the original on June 3, 2021. Retrieved April 29, 2021 – via Newspapers.com. open access
  • AFI (2003). "AFI's 100 Years...100 Heroes & Villains". American Moving picture Institute. Archived from the original on February 21, 2012. Retrieved Baronial 28, 2013.
  • AFI (2005). "AFI'south 100 Years...100 Movie Quotes". American Film Establish. Archived from the original on November 16, 2015. Retrieved January 14, 2015.
  • AFI (2007). "AFI's 100 Years...100 Cheers". American Pic Establish. Archived from the original on March 20, 2016. Retrieved August 28, 2013.
  • Allora, Jennifer; Ruf, Beatrix; Calzadilla, Guillermo (2009). Allora & Calzadilla. JRP Ringier. ISBN978-3-03764-027-ii.
  • Atkins, Eric (November 12, 1967). "Success -- Care in Treatment Tired Subject". Vol. 84, no. 111. St. petersburg Times. Time, Inc. Archived from the original on June 3, 2021. Retrieved April 28, 2021 – via Newspapers.com. open access
  • Borden, Marian Edelman (November 1, 2010). Paul Newman: A Biography. ABC-CLIO. ISBN978-0-313-38310-half-dozen. Archived from the original on March xx, 2017. Retrieved September 27, 2016.
  • Brode, Douglas (1990). The films of the sixties. Carol Publishing Group. ISBN978-0-8065-0798-9.
  • Dark-brown, Peter (1981). The existent Oscar: the story backside the Academy Awards. Arlington House. ISBN978-0-87000-498-8.
  • Burr, Sherri (2007). Amusement law in a nutshell. Thomson/West. ISBN978-0-314-17176-iv.
  • Bustin, John (November 16, 1967). "Prove World". Austin American-Statesman. Vol. 97, no. 81. Archived from the original on June 3, 2021. Retrieved April 28, 2021 – via Newspapers.com. open access
  • Champlin, Charles (October xxx, 1967). "'Absurd Manus Luke', Simple Tale With Truths to Tell". Los Angeles Times. Vol. 86. Archived from the original on June iii, 2021. Retrieved Apr 28, 2021 – via Newspapers.com. open access
  • Charlotte, Susan (1993). Creativity: Conversations With 28 Who Excel. Monumentum Books, LLC. ISBN978-1-879094-11-6.
  • Clooney, Ron (2011). Mr. Mojo Risin' (Ain't Dead). Troubador Publishing Ltd. ISBN978-i-84876-757-7. Archived from the original on March twenty, 2017. Retrieved September 27, 2016.
  • Clifford, Terry (November 27, 1967). "Newman Holds Winning Cards Again in 'Cool Hand Luke'". Chicago Tribune. Vol. 121, no. 331. Archived from the original on June 3, 2021. Retrieved April 28, 2021 – via Newspapers.com. open access
  • Crowther, Bosley (November 2, 1967). "Screen: Forceful Portrait of a Man Built-in to Lose". The New York Times. Vol. 117, no. 40, 094. Archived from the original on March 30, 2021. Retrieved April 29, 2021.
  • Debolt, Abbe; Baugess, James (2011). Encyclopedia of the Sixties: A Decade of Civilisation and Counterculture. ABC-Clio. ISBN978-0-313-32944-ix.
  • DeMar, Carol. It Takes a Courage to Enhance Terrific Kids. American Vision. ISBN978-1-60702-167-4. Archived from the original on March 20, 2017. Retrieved September 27, 2016.
  • DiLeo, John (2010). Tennessee Williams and Company: His Essential Screen Actors. Hansen Publishing Group, LLC. ISBN978-1-60182-425-vii.
  • Dimare, Phillip (2011). Movies in American History: An Encyclopedia: An Encyclopedia. ABC-Clio. ISBN978-1-59884-297-5.
  • Doberman, Matthew (2009). "Absurd Hand Luke". Allmovie. Rovi Corporation. Archived from the original on May 22, 2013. Retrieved August 27, 2013.
  • Eagan, Daniel (2010). America'due south Film Legacy: The Authoritative Guide to the Landmark Movies in the National Pic Registry . Continuum. ISBN978-0-8264-2977-three.
  • Ebert, Roger (2010). The Great Movies III. Academy of Chicago Press. ISBN978-0-226-18211-7.
  • Empire Mag staff (2005). "Cool Hand Luke". Empire. Bauer Consumer Media. Archived from the original on November half-dozen, 2012. Retrieved Baronial 27, 2013.
  • Empire Magazine staff two (2005). "The 100 Greatest Pic Characters| 53. Luke | Empire". Empire. Bauer Consumer Media. Archived from the original on October 3, 2013. Retrieved August 28, 2013.
  • Picture show Daily staff (1967). "Cool Mitt Luke to Open with Benefit November 1". The Picture Daily. Vol. 131. Wid'due south Films and Film Folk Incorporated.
  • Florida Section of Corrections (2010). "Florida Corrections - Centuries of Progress 1966–1969". Land of Florida. Archived from the original on October 23, 2013. Retrieved May 29, 2006.
  • Garrett, Gregg (2007). The Gospel According to Hollywood. Westminster John Knox Press. ISBN978-0-664-23052-4.
  • Grant, Barry Keith (2008). American Cinema of the 1960s: Themes and Variations. Rutgers Academy Press. ISBN978-0-8135-4219-v. Archived from the original on March twenty, 2017. Retrieved September 27, 2016.
  • Greenspoon, Leonard; Boyfriend, Bryan F. Le; Hamm, Dennis (November ane, 2000). The Historical Jesus Through Catholic and Jewish Eyes. Continuum. ISBN978-1-56338-322-ix. Archived from the original on March xx, 2017. Retrieved September 27, 2016.
  • Guarino, Ann (November 2, 1967). "Newman Stars in 'Absurd Hand Luke'". New York Daily News. Vol. 49, no. 112. Archived from the original on June three, 2021. Retrieved April 28, 2021 – via Newspapers.com. open access
  • Hook, Sue Vander (2010). How to Analyze the Roles of Paul Newman. ABDO. ISBN978-1-61758-785-vi. *
  • Jarvis, Brian (2004). Fell and unusual: punishment and U.s. civilisation. Pluto Press. ISBN978-0-7453-1543-0.
  • Langman, Larry; Ebner, David (2001). Hollywood's Epitome of the South: A Century of Southern Films. Greenwood Publishing Group. ISBN978-0-313-31886-3.
  • Levy, Shawn (2009). Paul Newman: A Life. Random House Digital, Inc. ISBN978-0-307-46253-4.
  • Lisanti, Tom (2000). Fantasy Femmes of Sixties Cinema: Interviews with 20 Actresses from Biker, Embankment, and Elvis Movies. McFarland. ISBN978-0-7864-0868-nine.
  • MacDonald, Laurence (2013). The Invisible Fine art of Film Music: A Comprehensive History. Scarecrow Press. ISBN978-0-8108-8398-7.
  • Magill, Frank (1983). Magill's American film guide. Vol. 1. Salem Press. ISBN978-0-89356-250-2.
  • May, John (2001). Nourishing Organized religion Through Fiction: Reflections of the Apostles' Creed in Literature and Moving picture. Rowman & Littlefield. ISBN978-1-58051-106-three.
  • McKay, James (2010). Dana Andrews: The Face of Noir. McFarland. ISBN978-0-7864-5676-5.
  • Nash Data Services staff (2009). "Cool Hand Luke - Box Office". Nash Data Services, LLC. Archived from the original on September 28, 2013. Retrieved Baronial 28, 2013.
  • Nixon, Rob (2013). "Trivia and fun facts almost Cool Hand Luke". TCM. Turner Amusement Networks, Inc. Archived from the original on July i, 2012. Retrieved August 27, 2013.
  • Nixon, Rob (2010). "Behind the photographic camera on Cool Hand Luke". Turner Classic Movies. Archived from the original on July 1, 2012. Retrieved August 28, 2013.
  • Nolte, Scott (December 1, 2003). We Back up You! Love, America. Xulon Press. ISBN978-1-59160-431-0. Archived from the original on March 20, 2017. Retrieved September 27, 2016.
  • Purves, Libby (2011). "Cool Hand Luke at the Aldwych Theatre, WC2". The Times. London. Archived from the original on December 16, 2013. Retrieved Baronial 29, 2013.
  • Quirk, Lawrence J. (September 16, 2009). Paul Newman: A Life, Updated. Taylor Merchandise Publications. ISBN978-1-58979-438-2. Archived from the original on March 20, 2017. Retrieved September 27, 2016.
  • Rasmussen, Eric (1991). The Blues and Gospel Impulses in the Stone Dialogic: Guns Northward' Roses and Bruce Springsteen. University of Wisconsin-Madison.
  • Reinhartz, Adele (2012). Bible and Cinema: Fifty Key Films. Routledge. ISBN978-1-136-18399-7.
  • Reed, John Shelton (2003). Minding the South. Academy of Missouri Press. ISBN978-0-8262-6453-4.
  • Rotten Tomatoes staff (2013). "Absurd Mitt Luke - Rotten Tomatoes". Rotten Tomatoes. Flixster, Inc. Archived from the original on September 29, 2013. Retrieved April 7, 2018.
  • Schickel, Richard (1967). Sheer Dazzler in the Wrong Place. Life. Vol. 63. Time Inc. ISSN 0024-3019.
  • Standish, Myles (November 10, 1967). "The New Films". St. Louis Dispatch. Vol. 89, no. 310. Archived from the original on June iii, 2021. Retrieved April 28, 2021 – via Newspapers.com. open access
  • Trueman, Matt (2011). "Cool Manus Luke's W End run a risk fails as prove closes early". The Guardian. London. Archived from the original on October 30, 2013. Retrieved August 29, 2013.
  • Variety staff (1966). "Review: 'Cool Hand Luke'". Variety. Archived from the original on September 21, 2013. Retrieved August 27, 2013.
  • Weber, Neb (2008). "Cool Paw Luke". Slant Mag. Slantmagazine.com. Archived from the original on Jan 21, 2013. Retrieved August 27, 2013.

External links [edit]

  • Absurd Hand Luke at the American Film Institute Catalog
  • Cool Hand Luke at IMDb
  • Cool Hand Luke at the TCM Flick Database
  • Cool Hand Luke at AllMovie
  • Cool Hand Luke at Rotten Tomatoes
  • Cool Hand Luke essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Flick Registry, A&C Black, 2010 ISBN 0826429777, pages 627-629 [i]

holimanbracken.blogspot.com

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

0 Response to "What We Have Here Is Failure to Communicate Gif"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel