As other reviewers have noted, this film does contain a mish-mash of themes (being both prison drama and crime thriller) and moments of self-consciously arty direction (the punishment beating of a prisoner in jumpy close-ups, an extreme close-up monologue against a darkened background, and tricksy shot compositions). It is still an interesting study of a man and a system.
At first, Johnny Bannion seems to be top dog among the prisoners. He can withdraw a beating or arrange one, and has hangers-on at his beck and call. When he gets out he has already planned the mythical 'big score' that will put him in Easy Street for a good, long while.
Unfortunately, the criminal system is as skewed as the capitalist one when it comes to exploitation. Mr Bigs have to be fixed - and double the rate they charge for their trouble (you have to deal with them or you can't do business at all). They are ruthless, kidnapping and threatening women to get their way. Eventually they will take everything you have, including your life, to get what they want. And don't expect any justice or comeback from the authorities. They are in on the game, too, and play their own part in keeping things jogging along as long as there isn't too much rough stuff (even the liberal New Statesman-reading prison governor seems wearily aware there can be no rehabilitation or true justice in the world).
By the end of the film Bannion has been bought and sold half-a-dozen times by those he felt he could trust. There is no room for his kind any more, corporate criminality has taken over.
We are left with too many loose ends to make a wholly satisfying story. Does Pauly Larkin pull through? Why was Maggie dumped? There are also tantalising hints at a more sensitive side to Bannion (love of music with the piano and record covers in his apartment, the stifled crossing of himself when he hears of a death) which are never explored.
This is a tough film and very worth watching. It just leaves too many unanswered questions.
At first, Johnny Bannion seems to be top dog among the prisoners. He can withdraw a beating or arrange one, and has hangers-on at his beck and call. When he gets out he has already planned the mythical 'big score' that will put him in Easy Street for a good, long while.
Unfortunately, the criminal system is as skewed as the capitalist one when it comes to exploitation. Mr Bigs have to be fixed - and double the rate they charge for their trouble (you have to deal with them or you can't do business at all). They are ruthless, kidnapping and threatening women to get their way. Eventually they will take everything you have, including your life, to get what they want. And don't expect any justice or comeback from the authorities. They are in on the game, too, and play their own part in keeping things jogging along as long as there isn't too much rough stuff (even the liberal New Statesman-reading prison governor seems wearily aware there can be no rehabilitation or true justice in the world).
By the end of the film Bannion has been bought and sold half-a-dozen times by those he felt he could trust. There is no room for his kind any more, corporate criminality has taken over.
We are left with too many loose ends to make a wholly satisfying story. Does Pauly Larkin pull through? Why was Maggie dumped? There are also tantalising hints at a more sensitive side to Bannion (love of music with the piano and record covers in his apartment, the stifled crossing of himself when he hears of a death) which are never explored.
This is a tough film and very worth watching. It just leaves too many unanswered questions.