Just some film musings of a more succinct, spontaneous and sometimes seditious nature:

Tuesday, March 28, 2023

Today on TCM:

Birdman of Alcatraz (1962)

Guy Trosper was an exceptional screenwriter. He wrote one of the finest westerns ever made Devil’s Doorway (1950), co-adapted what is still perhaps the greatest espionage thriller of all time, author John le Carré’s The Spy Who Came in from the Cold (1965), and in between those assignments adapted the screenplay from Tom Gaddis’ book Birdman of Alcatraz (1962).

Its title character is delineated with strength and conviction by Burt Lancaster ably assisted by John Frankenheimer’s equally as purposeful direction. Robert Stroud is rich in complexity. His disproportionate hostility toward those who show him even the slightest disrespect is palpable and well integrated with a budding desire to seek knowledge both of his newly recruited aviary friends and his own prison surroundings. Stroud’s character is also well developed through some shrewdly presented interactions with fellow inmates and various prison personnel. Telly Savalas’ portrayal of a neighbouring convict and proud bird owner along with Neville Brand as a guard who Stroud grows old with, are standouts.

There’s no question that the filmmakers favour the mature, intelligent and studious side of Stroud over his aggressive tendencies and violent transgressions, the most egregious of which (the killing of a guard while in prison) they carefully skew towards, what some might describe as, a sort of justification for his actions. At the very least, they give audiences an understanding for the cause of Stroud’s murderous response by the lead up to this incident and the way it is presented. A more balanced approach to Stroud’s characterisation would have provided further contrast and a better sense of unadulterated realism between the convict’s fascination with, and care for, his birds and the inmate’s hardened, often remorseless reactions to authority. The latter would have at least benefitted from less of an imposed sense of “reasoning.” More problematic is Stroud’s relationship with his mother played by Thelma Ritter. Not so much in the beginning (even though her presence adds more weight to the sympathetic side of her son’s plight) but later when she becomes jealous of his female visitor and benefactor. These scenes of heavy emoting come across as artificial and unnecessary padding for dramatic enhancement.

Even with the above mentioned flaws, most of the basic facts pertaining to Stroud’s incarceration are dealt with in a true and revealing fashion. There are numerous meaningful discussions relating to the penal system’s affect on its inmates’ feelings of self worth, the attitudes expressed by those in charge, isolation, the death penalty and what rehabilitation truly means. Frankenheimer’s sturdy but quiet observational tone is never preachy nor emphatic.

Edmond O’Brien plays the book’s author and narrator of this story with typical assurance. Ditto Karl Malden as a warden transferred to Alcatraz. Elmer Bernstein provided the appropriately delicate underscore.

Sometimes it’s tough pointing out faults in a motion picture this critic is otherwise so full of admiration for. John Frankenheimer is such a skilful, exacting and dynamic director when he’s equipped with solid material and performers as he is here. Hopefully audiences will, like myself, find his storytelling attributes outshine whatever weaknesses are found in Birdman of Alcatraz.

TCM will present Birdman of Alcatraz Tuesday, March 28 at 11:45 pm PDT.

TCM's current monthly schedule can be confirmed by clicking on either of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

All responses are not only welcomed but encouraged in the comments section below.

Hope to see you tomorrow.

A.G.

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