(Note: Capsule version of the review is available here.)
New generations who watch Al Pacino’s character chanting "Attica! Attica!" in Dog Day Afternoon are probably less aware what those words mean than the audience in early 1970s. For those who used to be around in those times, word "Attica" is forever associated with the great prison riot in 1971, tragic event that traumatised the American nation in the very same way Waco, Oklahoma City bombing and school shootings are doing that today. Hollywood simply ignored that event, same as similar events are ignored now, and left to the professional yet routine treatment of television industry. In case of Attica, it happened with the Attica, 1980 television movie directed by Marvin Chomsky. The author of this review used to watch this movie long time ago, and was very impressed with it. Fourteen years later, HBO reconstructed those events in the form of cable film directed by John Frankenheimer, filmmaker who had made reputation by making great political thrillers in 1960s and 1970s.
The story is told from the perspective of Michael Smith (played by Kyle MacLachlan), young man from Attica, New York, who follows the family tradition and becomes the guard in nearby State prison, nicknamed "The Factory" by the local population. However, unlike his predecessors, including his father (played by Harry Dean Stanton), retired guard who now owns the bar, Smith is the product of Baby Boomer generation – idealistic, liberal and open for 1960s ideas. Soon, he is shocked to find that the prison is run like nothing has changed outside the walls. Guards like sadistic and racist Weisband (played by Frederic Forrest) treat prisoners like animals. Smith is, on the other hand, aware that it can't go for long. The inmates, mostly blacks like Jamaal (played by Samuel L. Jackson) are convinced that they too should have some new political and other freedoms that the rest of country enjoys under the reforms. The anger and discontent explodes in the violent outburst that would leave scores of prison guards, including Smith, as hostages.
Technically, the movie is well-done. The acting is superb, which isn't so hard to imagine with excellent character actors like Forrest, MacLachlan, Jackson, Stanton and Clarence Williams III (playing militant prisoner Chaka) around. Also, the grey-coloured cinematography of John R. Leonetti provides a lot of gloomy atmosphere, that was essential for this kind of picture. Unfortunately, Frankenheimer, like with many films in latter years, continues with the series of bland and forgettable movies that undermine his reputation and Against the Wall is not an exception. It happened mostly because of screenplay; Ron Hutchinson wrote characters less like a living and breathing people, and more like a symbols. So, the division between the guards and inmates seem somewhat artificial, same as the use of "good vs. bad" stereotypes in characterisation (most notable in confronting Smith with Maclachlan, and Jaamal with Chaka). Also, the film is too didactic – the characters keep telling to each other and audience that the times are changing, instead of leaving that task to the director. The ending of the film, with its "symbolic" message being spelled out, is even worse. However, despite those serious flaws, and despite the fact that the Attica prison riot deserved better depiction, the movie serves its purpose simply by showing that dark chapter of American history to the audience of today.
RATING: 5/10 (++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on May 23rd 1999)
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