Cool Hand Luke (1967)

 Stuart Rosenberg's "Cool Hand Luke"


There is something overtly charming about the 1967 Hollywood film "Cool Hand Luke." Perhaps because the central character, Luke, is so damn charming. Beyond its charm, the film surprisingly became a touchstone of its era - a film that stood out amongst the stale products being churned out by Hollywood. Even more so, it had allegorical touches - clearly anti-establishment and nodding to the emerging opposition to the ongoing war in Vietnam. 

The film stars the incomparable Paul Newman as Luke, a decorated World War II veteran sentenced to two years on a chain gang after drunkenly destroying parking meters. In the gang, Luke refuses to observe orders, albeit always with a cool and sly demeanor. After gaining the respect of the other prisoners, Luke makes several escape attempts and is eventually beaten and broken down by the authoritative staff. 

At the time of the film's release, anti-establishment was a spreading sentiment amongst the American populace, especially young people. The corrupt and outrageous acts by governmental powers created this very temperament. Luke's cool opposition to such authority reflects such a sentiment. Luke's 'cool' demeanor in the face of opposition is visually compared to Jesus throughout the film, even showing Luke laying in the crucifix position after winning an egg-eating competition and ultimately gaining the respect of his fellow prisoners.

Even if you were to take away the allegorical elements, the film still manages to be just as engaging. Its plot is relatively simple, and yet the social interactions between the various characters and Luke's ever-cool reactions to every circumstance is completely hypnotizing. Luke becomes something of a heroic figure, braving the imperious positions of power with a desirable breeziness. 

"Cool Hand Luke" delivers impeccable drama without ever sacrificing entertainment. Its main thematic point is ultimately supported by its plot and characters, allowing it to be a completely fleshed-out and independent narrative beyond its indented purpose. Because of this, it feels evergreen and universal.



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