The Last Castle

If I think of Robert Redford, I think of actors like Barbra Streisand, Jane Fonda, Marlon Brando or Paul Newman. I think of 1960's and -70's blockbuster movies like "Butch Cassidy and the Sundance Kid" or "All the President's Men". And not to forget the "Sundance Film Festival" that Redford created with a name that he took from the former mentioned movie.

If I think of Robert Redford, I also think of the more than excellent movie "Brubaker". A movie in which he becomes warden of a prison that was a haven of corruption and abuse of the inmates.

In the movie "The Last Castle", we see Redford again feature in a prison movie. And this time it is not a '60's or '70's movie, but one from the early 21st century. And Redford's acting is still as great as ever!

The storyline behind the movie is unfortunately a bit too "standard". It doesn't tell a true story and neither does it put you on the edge of your seat. It is pretty predictable actually. I think the storyline was not really worthy of an actor as Redford.

But I have to admit that the movie is entertaining. This to the level that I give it 7.3 stars (rounded down to 7). It is the interaction between the two lead actors, Redford and James Gandolfini - the latter is very known for his role in Sopranos - that makes this movie an interesting one to watch.

Love this film.

Obvious plot and direction but weirdly worked perfectly.

Has a very steady tempo and it's always fab when there isn't any manufactured 'surprises'.

Apparently bombed at the box office but it's certainly a grower.

Definitely worth a watch.

In an era when most new filmmakers seem less concerned with story than with figuring out new and creative ways to possibly damage their camera equipment, it's encouraging to see someone like Rod Lurie come along. A former film critic, Lurie has emerged in the last few years as a maker of old-fashioned "good movies well made". He impressed me last year with the political drama "The Contender", and this year he brings us "The Last Castle", a prison picture that overcomes some dramatic potholes to provide a solid two hours' worth of entertainment.

The castle in question here is a maximum security military prison, home to the armed forces' toughest offenders. The whole place is ruled by Col. Winter (James Gandolfini), a tinpot tyrant who delights in turning his prisoners against one another. Make them forget they are soldiers, make them forget they are MEN, and you will win...that's Winter's philosophy. Then, a monkey wrench is thrown into the works, in the form of Gen. Eugene Irwin (Robert Redford), a much-decorated three-star general court-martialed for a battlefield infraction. Irwin immediately sees Winter for what he is, and as his weeks in the prison wear on, he begins to realize that he is surrounded by SOLDIERS, tough, competent, and ready to fight. All they need is a general to get behind...and a villain to rally against.

"The Last Castle" is a character-driven piece, and is carried by the strengths of its performances. Robert Redford takes a character who is admittedly rather sketchily written and, through sheer force of his charisma and personality, turns him into someone quirky and specific. Irwin is more like the Sundance Kid than any character Redford has played in some time: a rebel battling against a system that has arrayed insurmountable odds against him. This time, however, Irwin is a product of the system, and he knows its rules. Redford conveys that wisdom with a bemused grin or a mere flex of his craggy but still handsome face. This, folks, is star power.

The actors surrounding him put in equally fine work. James Gandolfini is miles away from "The Sopranos" as the despotic Col. Winter, and makes him a fine villain, loathsome yet pathetic and curiously affecting at the same time. Mark Ruffalo comfortably wears the role of the prison bookie, a cynic whose father was a Vietnam P.O.W. with Irwin, and Clifton Collins, so creepy and evil as the assassin Frankie Flowers in "Traffic", turns in a drastically different turn here as a stuttering corporal who first recognizes Irwin's greatness.

Lurie helms this material with assured confidence. He gives the film a gritty, authentic look and feel, he knows how to recognize a dramatic moment and pay it off, and he handles the film's quieter scenes and its boisterous action payoffs with equal elan. Any way you slice it, it's just good filmmaking.

Though David Scarpa and Graham Yost spike their screenplay with memorable moments and fine dialogue, they shoot themselves in the foot with third-act implausibilities (you'll find yourselves asking more than once, "Now how did they manage to throw THAT together?") and an abrupt finale that leaves too many unanswered questions.

Still, even with these problems, "The Last Castle" is a solid, rousing piece of mainstream entertainment. It's well-made, it tells a good story without insulting your intelligence or your good taste, and it showcases some fine acting by veterans and newcomers alike. And I bet Lurie didn't even break any of his cameras. I'm sure Dreamworks appreciates that, if nothing else.

I had never heard of this movie and came across it on Showtime. Pleasantly surprised. Cross between Cool Hand Luke and Cadence.

Most of the raves and pans you will read of this movie are equally true in their own respects. For my money, the film's weaknesses slightly outweigh its strengths but I can easily see someone else's scales tipping the other way.

The performances are splendid all around. Most especially, James Gandolfini (who had the inside track with the most richly drawn character) excels as the ambiguous villain who is actually right more than half the time.

The message which deals with the value of pride and the importance of identity and self-worth is certainly admirable. The fact that this occurs among men who have marred their own self-worth through violent crime makes the concept that much more interesting. It almost (but never quite) raises the idea of reclaiming integrity, once lost. If it had gone this extra mile, it may well have been a better film.

The weaknesses lie in the hundreds of stupid little inaccuracies which culminate into one stupid BIG inaccuracy: This place doesn't feel like a prison!

It is difficult to make a prison movie within ten years of 1994 without inviting comparisons to "The Shawshank Redemption." Rather than belaboring the obvious, I want to note one detail that is exemplary of the earlier film's superiority. Even the jolliest, funniest, most easy going prisoners in Shawshank had an underlying sense of danger about them. You didn't want to get on their bad side. You never doubt that they belong in prison (except, of course, for Andy Dufresne). But this is not so in "The Last Castle." No matter how often someone reads from a prisoner's file and discusses the horrible things he has done, none of the words, actions, or other moods conveyed by the men in this film make them seem in any way dangerous. Maybe it's a case of mass miscasting but I doubt it.

Compounding this problem is the lack of scholarship to be found in the little details. Robert Redford shaves with a safety razor in spite of the fact that no prisoner would be allowed such a tool. Razor blades, like belts and shoelaces, are potential suicide tools and, thus, prohibited in prisons. Also, people keep referring to an officer's side arm as his "gun" instead of his "weapon." These mistakes were easy to avoid and yet they remained in the film.

All of this makes a potentially fascinating film, filled with talent, seem a touch removed from reality. Like in "The Contender," director Rod Lurie has shown that his view of reality is based on his opinions rather than the other way around.

With all it had going for it, it's a shame really.