A young man just released from prison can't find work because no employer will hire an ex-convict. Broke and hungry, he steals money off of a painter.
Shadows bruise the frame from the first iris-in: barred windows, shuttered hearts, a metropolis whose skyscrapers look like elongated prison bars. Franklyn Hall’s screenplay, laconic yet laced with liturgical overtones, treats unemployment like original sin: once stained, forever cast out. Michael D. Moore’s protago...
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Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Bertram Bracken
Bertram Bracken
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" Shadows bruise the frame from the first iris-in: barred windows, shuttered hearts, a metropolis whose skyscrapers look like elongated prison bars. Franklyn Hall’s screenplay, laconic yet laced with liturgical overtones, treats unemployment like original sin: once stained, forever cast out. Michael D. Moore’s protagonist—never named, merely the released—enters each employment office as if stepping into a tribunal. Employers’ eyes flick from his face to an invisible rap sheet hovering like a st..."
Franklyn Hall, Tom J. Hopkins, Bertram Bracken, James C. Bradford
United States
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