24 reviews
When something feels so real, true to its life in all respects, you get let in and buried beneath its weight. "Short Eyes" is a film that takes straight reality, fills it with characters and words of full realization, and takes you down the corridor of a 1 hour, 39 minute hell. Miguel Pinero wrote a script from a world he knew well, words and people from the dark side of America. No one but a former prisoner could have reflected things so pure and so ugly. Robert M. Young as director sets the scene and understands what the story needs. He lets it happen with the freedom begged for.
I could say a lot more, I suppose, but every event hinges on those surrounding it, so to say much is perhaps having to say all. It's a flat painful experience, leaving you with the title character, played by Bruce Davison. Regardless of who you are or what your sin may be, this character is meant to be you. Watch him, feel his hurt, live his guilt, and he might just reflect a little bit of you back. This is not an easy thing.
I could say a lot more, I suppose, but every event hinges on those surrounding it, so to say much is perhaps having to say all. It's a flat painful experience, leaving you with the title character, played by Bruce Davison. Regardless of who you are or what your sin may be, this character is meant to be you. Watch him, feel his hurt, live his guilt, and he might just reflect a little bit of you back. This is not an easy thing.
- SteveSkafte
- Feb 28, 2010
- Permalink
A movie about prison life. It deals with the inmates--their lives, hates, sexual feelings and the rituals that happen in prison. Clark Davis (Bruce Davison) is thrown in with them--he's suspected of being a child molester ("short eyes" in prison slang). The other prisoners want to kill him...but Davis has talked to one prisoner Juan (Jose Perez) who has serious doubts about his guilt. But can he convince the others?
This was a pretty big art house hit (here in Boston at least) back in 1977. It dealt with (for the time) a taboo subject matter. Then it completely disappeared. That's too bad--it deserves a wider audience.
It was shot in an actual closed-down prison (the Tombs) in NYC. That really helps the mood and feeling of the film. The acting is very good by all--especially Davison, Perez and Joseph Carberry (as Longshoe). But this is a very hard movie to sit through. Davison's confession to Juan is VERY explicit, a sequence where a prisoner is beaten up and tortured by the others is unpleasant and the ending is very disturbing.
It's not a perfect film. It was a stage play first--and it shows. The action never moves away from two areas and occasionally the inmates speak WAY too intelligentally for the characters they're playing. (I seriously doubt that the character Longshoe would ever know the word "quadroon"--or what it meant). Still a very powerful, disturbing drama. Well worth seeking out.
Accomplished character actor Luis Guzman plays one of the inmates (good luck finding him).
This was a pretty big art house hit (here in Boston at least) back in 1977. It dealt with (for the time) a taboo subject matter. Then it completely disappeared. That's too bad--it deserves a wider audience.
It was shot in an actual closed-down prison (the Tombs) in NYC. That really helps the mood and feeling of the film. The acting is very good by all--especially Davison, Perez and Joseph Carberry (as Longshoe). But this is a very hard movie to sit through. Davison's confession to Juan is VERY explicit, a sequence where a prisoner is beaten up and tortured by the others is unpleasant and the ending is very disturbing.
It's not a perfect film. It was a stage play first--and it shows. The action never moves away from two areas and occasionally the inmates speak WAY too intelligentally for the characters they're playing. (I seriously doubt that the character Longshoe would ever know the word "quadroon"--or what it meant). Still a very powerful, disturbing drama. Well worth seeking out.
Accomplished character actor Luis Guzman plays one of the inmates (good luck finding him).
Based on a Tony nominated play, this obscure film version is crude, tough stuff about life in the NY Tombs, as the Manhattan Detention Center was known then. And it is an appropriate name for a terrible, seemingly corrupt institution. Despite the acclaim, the play only ran for 80 performances, so it wasn't a hit and surely this grainy little seen film wasn't either, but it's well worth watching if you're up for it. It has a slim storyline of a young white pedophile entering for the first time a facility of mostly hardened Hispanic and Black prisoners and how they do or don't accept him. I say slim storyline as most of the film is simply showing us life in this prison, the inmates and their relationships with each other. It ain't pretty. Most of the people in this all male cast have multiple acting credits, which surprised me as they all seem like the real deal. There is not a performance that doesn't ring true. Miguel Pinero was a prisoner at one time, and I suspect so were most of the cast, and while there he wrote this play though his life was short. He also appears in this film and like the rest, is very authentic. I don't know if this film really has a message other than stay the hell out of jail!
- justahunch-70549
- May 19, 2024
- Permalink
Short Eyes is to prison pictures what the atom bomb is to weaponry— powerful and frightening from one end to the other. In fact, I'm surprised the movie got made at all since it's got all the commercial appeal of live surgery. But once you start watching, you can't stop. The characters are real and riveting, the setting an actual prison (The Tombs), and the violence sudden and brutal. It's almost like being in prison, except thankfully you're not.
The story is about one floor of the lockup where the packed-in racial groups appear poised for combat like Europe in 1914. There's a tense truce as long as Whites, Blacks, and Browns observe the unwritten rules and don't invade the wrong space. Too bad they're not making music all the time because that's the only time they seem in harmony. Then into this tense mix comes a guy everyone can despise, a child-molester (Davison). Worse, he's a white guy who even looks like "the man". So he's got as much chance of surviving as a minnow has among sharks-- that is, if the authorities don't pull him out first. And, kind of surprisingly, we wish they would since after listening to his "story", he seems more pathetic than wicked.
Two things to note. Catch how difficult it is for any kind of humanity to survive amid racially charged, oppressive conditions that the authorities (guards, supervisors) only make worse. Juan (Perez) wants to cling to some vestige, but he's got to do it within the unwritten rules. And, in this testosterone-soaked atmosphere, the problem isn't just ethnic, it's other guys in general. However, the most nightmarish part is the threat of emasculation, men being denied their identity and turned into substitute women. That scene in the shower between Cupcakes and Paco may be more unsettling than even the knifing in Psycho (1960). I expect this loss of sexual identity may be the most unnerving part of a genuinely frightening movie, by which Hollywood's prison films pale in comparison.
The story is about one floor of the lockup where the packed-in racial groups appear poised for combat like Europe in 1914. There's a tense truce as long as Whites, Blacks, and Browns observe the unwritten rules and don't invade the wrong space. Too bad they're not making music all the time because that's the only time they seem in harmony. Then into this tense mix comes a guy everyone can despise, a child-molester (Davison). Worse, he's a white guy who even looks like "the man". So he's got as much chance of surviving as a minnow has among sharks-- that is, if the authorities don't pull him out first. And, kind of surprisingly, we wish they would since after listening to his "story", he seems more pathetic than wicked.
Two things to note. Catch how difficult it is for any kind of humanity to survive amid racially charged, oppressive conditions that the authorities (guards, supervisors) only make worse. Juan (Perez) wants to cling to some vestige, but he's got to do it within the unwritten rules. And, in this testosterone-soaked atmosphere, the problem isn't just ethnic, it's other guys in general. However, the most nightmarish part is the threat of emasculation, men being denied their identity and turned into substitute women. That scene in the shower between Cupcakes and Paco may be more unsettling than even the knifing in Psycho (1960). I expect this loss of sexual identity may be the most unnerving part of a genuinely frightening movie, by which Hollywood's prison films pale in comparison.
- dougdoepke
- Sep 4, 2010
- Permalink
- Jimmy_the_Gent4
- Apr 17, 2020
- Permalink
Short Eyes is directed by Robert M. Young and written by Miguel Piñero who adapts from his own play. It stars Bruce Davison, Jose Perez, Nathan George, Don Blakely, Curtis Mayfield and Shawn Elliott.
The Tombs, A House of Detention in New York City receives a new prisoner, white middle classed Clark Davis (Davison). He's charged with raping a young girl, quickly identified as a Short Eyes (paedophile) by the other inmates and lined up for hostility from the off. Only one prisoner is prepared to engage Clark in conversation, but with atmosphere on the block already bubbling at breaking point, Clark's innocence or guilt is most likely irrelevant.
One of the most sedate but effective prison based movies out there, Short Eyes comes with realism, intelligence and a conscience. Piñero's play was itself a success, so source was reliable for treatment, what transpires is a tale of prisoners co-existing under trying circumstances. But it's a hornets nest slowly being stirred by pent up sexual frustrations, egos, racial indifference and religion, once the suspected paedophile wanders into the equation you can literally see the tension starting to rise to the surface. Yet director and writer don't go for cliché prison shocks involving violence and rape, they gnaw away at the viewers by letting the hatred and break down of moral codes build by way of rich characterisations and dialogue. It helps greatly that the makers have started the picture off by giving us a solid 20 minutes of character build ups, thus letting us get to know the inhabitants and their place of incarceration.
Unity is powerful, but it can also be ugly.
Some of the monologue's are utterly compelling, delivered with extraordinary conviction by a cast keeping the material real. When the excellent Davison, who I applaud for taking on the sort of role many actors would run from, gets to pour out his words to Juan (Perez), it's most uncomfortable viewing, yet also it's heartbreaking as well. It was here that it dawned on me that Piñero's (himself an ex-convict) characters are not prison film stereotypes, they are complex human beings, neither sympathetic or villainous, and that's a real treat in this particular genre of film. The photography is purposely low-key and the music, mostly arranged by Soul maestro Curtis Mayfield (who also co-stars) eases around the prison walls. Both Mayfield and Freddy Fender get to sing and this acts as means to subdue the pressure cooker like mood.
This is not a prison film for those that need animalistic violence, this is very much a thinking persons prison piece. What violence there is is calmly constructed and acted by director and cast alike. The pivotal moment shocks, and rightly so, but here's the kicker, it doesn't shock as much as the monologue that closes out this most compelling and excellent of movies. 9/10
The Tombs, A House of Detention in New York City receives a new prisoner, white middle classed Clark Davis (Davison). He's charged with raping a young girl, quickly identified as a Short Eyes (paedophile) by the other inmates and lined up for hostility from the off. Only one prisoner is prepared to engage Clark in conversation, but with atmosphere on the block already bubbling at breaking point, Clark's innocence or guilt is most likely irrelevant.
One of the most sedate but effective prison based movies out there, Short Eyes comes with realism, intelligence and a conscience. Piñero's play was itself a success, so source was reliable for treatment, what transpires is a tale of prisoners co-existing under trying circumstances. But it's a hornets nest slowly being stirred by pent up sexual frustrations, egos, racial indifference and religion, once the suspected paedophile wanders into the equation you can literally see the tension starting to rise to the surface. Yet director and writer don't go for cliché prison shocks involving violence and rape, they gnaw away at the viewers by letting the hatred and break down of moral codes build by way of rich characterisations and dialogue. It helps greatly that the makers have started the picture off by giving us a solid 20 minutes of character build ups, thus letting us get to know the inhabitants and their place of incarceration.
Unity is powerful, but it can also be ugly.
Some of the monologue's are utterly compelling, delivered with extraordinary conviction by a cast keeping the material real. When the excellent Davison, who I applaud for taking on the sort of role many actors would run from, gets to pour out his words to Juan (Perez), it's most uncomfortable viewing, yet also it's heartbreaking as well. It was here that it dawned on me that Piñero's (himself an ex-convict) characters are not prison film stereotypes, they are complex human beings, neither sympathetic or villainous, and that's a real treat in this particular genre of film. The photography is purposely low-key and the music, mostly arranged by Soul maestro Curtis Mayfield (who also co-stars) eases around the prison walls. Both Mayfield and Freddy Fender get to sing and this acts as means to subdue the pressure cooker like mood.
This is not a prison film for those that need animalistic violence, this is very much a thinking persons prison piece. What violence there is is calmly constructed and acted by director and cast alike. The pivotal moment shocks, and rightly so, but here's the kicker, it doesn't shock as much as the monologue that closes out this most compelling and excellent of movies. 9/10
- hitchcockthelegend
- Apr 7, 2012
- Permalink
Maybe the best prison film ever made because its origin is people who were actually in prison, most notably its main author, Miguel Piñero. The film deals with the interrelationship between the prisoners of a cell block. That's what most of the film is, the observation of these men and their culture. The plot of the film is about a new arrival (Bruce Davison) who has been arrested as a suspect on a child molestation charge. He's never been in prison, and he's very afraid, which, of course, he should be. Short Eyes doesn't make any easy choices at all, which makes for a particularly uncomfortable movie to watch. But it also makes it one of the gutsiest and most important films ever made, and it's one of the best movies I've ever seen. It's one of only two movies that I've ever watched twice right in a row. Well, the second time was with commentary by the director (and another man, whose participation in the film I don't exactly know), because I wanted to know exactly how this film came about, and to confirm my guess that there was some kind of inside track to prison life behind the scenes. There was far more than I could have guessed; the commentary also ranks as one of the best I've ever listened to. A masterpiece.
- F Gwynplaine MacIntyre
- Mar 5, 2003
- Permalink
"Short Eyes" has an authentic look and feel, but suffers from an unfocused script, confusing dialogue (racial tensions run high in this prison....and the movie begs for subtitles!) and static direction. You know that something is wrong when the most compelling scene in a movie is the sordid confessional monologue of a child-molester. (**)
Short Eyes is yet another 70's flick lost until recently in the world of obscure VHS,various licensing and grey market bootlegs. However, it is one of the best dramas of the decade and deserved the DVD re-release.
The story centers about the denizens of "The Tombs", the Men's House of Detention in Manhattan, where it was filmed. Like many other prison-centered scripts, it fleshes out the microcosmic aspect of a isolated society and provides the alternate racial existence on "the inside" (where white is the minority). The story establishes the environment inside, outlining the groups and nearly making the life seem manageable. Then a white middle-class inmate arrives and is quickly exposed by a guard as a accused child molester, or short eyes. The group at large quickly responds as we see what this society really deems offensive.
Along the way we experience religious presence, soulful expression, prison hierarchy, sexual intimidation, mental coercion, utter rage, blinding fear, confiding, alienation and displacement. In other words, the range of emotions from several characters displays to the viewer the depth and severity of how living in a world where entropy is the only constant. There is a passage in the movie where the complete ambivalence of every person becomes evident; there are no longer any allies or any semblance of trust when it is exposed that everyone will take what they want when possible. The guards are an important part of the population but there is no real opposition there- no protagonists to speak of, only a film of corruption over the cruel survivalist scene. Stirring, impassioned material.
While there are no big stars in this, an independent adaptation of Miguel Pinero's early 70's play, it still has some amazing performances. Jose Perez does a stellar job as the one prisoner who can tolerate speaking with the 'short eyes'. Prolific character actor Bruce Davison is outstanding as the conflicted and confused molester, who cannot weather this change of environment. Nathan George, a great character actor who remained busy in the 70's, is in fine form here. Joseph Carberry is the central white inmate and wears his hate and mistrust as a badge of identity. And of course, there is no forgetting the cameos by the late Curtis Mayfield and Freddy Fender. In one group scene, Fender engages in a song ("Break The Dawn") captivating the entire population, an amazing slow soulful track that is matched by the following Mayfield song, "Do Do Wap is Strong In Here". Two smoky, slow-burn tracks sung by two legends that literally soothes the savagery here. A rewindable, unforgettable classic scene.
In an extra note, superb modern Latino actor Luis Guzman appears as an extra here in his first film appearance. Look for him in the above Mayfield/Fender song sequence and in a few other scenes, sporting a blowout afro.
There is ample reason why this is often referred to as a 'prison/horror film' but its really a stark, tense drama. Coupled with the Benjamin Bratt-lead Pinero, this is one of the best ways to get a taste of the lost genius of Miguel Pinero. The DVD issue of Short Eyes features a commentary track by the director along with Leon Ichaso, director of Pinero. Although there is much left open about this masterpiece, the commentary truly adds a lot of miscellaneous info that fans like myself would appreciate. Not to be missed.
The story centers about the denizens of "The Tombs", the Men's House of Detention in Manhattan, where it was filmed. Like many other prison-centered scripts, it fleshes out the microcosmic aspect of a isolated society and provides the alternate racial existence on "the inside" (where white is the minority). The story establishes the environment inside, outlining the groups and nearly making the life seem manageable. Then a white middle-class inmate arrives and is quickly exposed by a guard as a accused child molester, or short eyes. The group at large quickly responds as we see what this society really deems offensive.
Along the way we experience religious presence, soulful expression, prison hierarchy, sexual intimidation, mental coercion, utter rage, blinding fear, confiding, alienation and displacement. In other words, the range of emotions from several characters displays to the viewer the depth and severity of how living in a world where entropy is the only constant. There is a passage in the movie where the complete ambivalence of every person becomes evident; there are no longer any allies or any semblance of trust when it is exposed that everyone will take what they want when possible. The guards are an important part of the population but there is no real opposition there- no protagonists to speak of, only a film of corruption over the cruel survivalist scene. Stirring, impassioned material.
While there are no big stars in this, an independent adaptation of Miguel Pinero's early 70's play, it still has some amazing performances. Jose Perez does a stellar job as the one prisoner who can tolerate speaking with the 'short eyes'. Prolific character actor Bruce Davison is outstanding as the conflicted and confused molester, who cannot weather this change of environment. Nathan George, a great character actor who remained busy in the 70's, is in fine form here. Joseph Carberry is the central white inmate and wears his hate and mistrust as a badge of identity. And of course, there is no forgetting the cameos by the late Curtis Mayfield and Freddy Fender. In one group scene, Fender engages in a song ("Break The Dawn") captivating the entire population, an amazing slow soulful track that is matched by the following Mayfield song, "Do Do Wap is Strong In Here". Two smoky, slow-burn tracks sung by two legends that literally soothes the savagery here. A rewindable, unforgettable classic scene.
In an extra note, superb modern Latino actor Luis Guzman appears as an extra here in his first film appearance. Look for him in the above Mayfield/Fender song sequence and in a few other scenes, sporting a blowout afro.
There is ample reason why this is often referred to as a 'prison/horror film' but its really a stark, tense drama. Coupled with the Benjamin Bratt-lead Pinero, this is one of the best ways to get a taste of the lost genius of Miguel Pinero. The DVD issue of Short Eyes features a commentary track by the director along with Leon Ichaso, director of Pinero. Although there is much left open about this masterpiece, the commentary truly adds a lot of miscellaneous info that fans like myself would appreciate. Not to be missed.
I saw this movie at about the time it was made, on PBS, and a crappy little table top television.
Others have described the plot and the nature of the character interactions in good, accurate detail, so I won't bother. I would only like to encourage others to get hold of this movie, any way they can, and to watch it, preferably with a friend, or even better, with a loved one. That will make the ultimate, and perhaps entirely expected tragedy easier to cope with, and will give you someone to talk with as your insights unsettle you, and as you are consistently impressed, sometimes in unexpected and startling ways, (which inevitably benefit by shared enthusiasm and discussion) by the actors, at least some of whom (i.e. Freddy Fender) have had very little or even absolutely no acting experience whatsoever. IMO there is not a single weakness in this movie and the movie itself is relentlessly realistic and unremittingly convincing.
The two most lasting impressions for me...A)I have never forgotten the details of this movie and it seems to have been burned indelibly onto my memory, so that even 35 years (approximately) after I saw it (once) I could give you a good summary of it, including the unexpected plot twists and turns, and B) Even though I heartily disliked Freddy Fender's music my opinion of him went "through the roof" as a result of his performance in this movie. IMO he's "da man."
I'm buying a copy of this movie (in DVD format this time) as soon as I submit this review.
Please do yourself a favour and watch it.
Douglas Coleman
Others have described the plot and the nature of the character interactions in good, accurate detail, so I won't bother. I would only like to encourage others to get hold of this movie, any way they can, and to watch it, preferably with a friend, or even better, with a loved one. That will make the ultimate, and perhaps entirely expected tragedy easier to cope with, and will give you someone to talk with as your insights unsettle you, and as you are consistently impressed, sometimes in unexpected and startling ways, (which inevitably benefit by shared enthusiasm and discussion) by the actors, at least some of whom (i.e. Freddy Fender) have had very little or even absolutely no acting experience whatsoever. IMO there is not a single weakness in this movie and the movie itself is relentlessly realistic and unremittingly convincing.
The two most lasting impressions for me...A)I have never forgotten the details of this movie and it seems to have been burned indelibly onto my memory, so that even 35 years (approximately) after I saw it (once) I could give you a good summary of it, including the unexpected plot twists and turns, and B) Even though I heartily disliked Freddy Fender's music my opinion of him went "through the roof" as a result of his performance in this movie. IMO he's "da man."
I'm buying a copy of this movie (in DVD format this time) as soon as I submit this review.
Please do yourself a favour and watch it.
Douglas Coleman
- dougcoleman
- Sep 11, 2010
- Permalink
- Woodyanders
- May 17, 2006
- Permalink
- TheFearmakers
- Apr 11, 2018
- Permalink
Miguel Piñero adapted his own play (and co-stars as Go-Go) in this no-nonsense examination of life behind bars in a racially-heated men's jail. The prisoners segregate themselves by race, insulting each other with slurs which quickly lead to thrown punches, and yet this racial pride is really the most we learn about any of them. Bruce Davison stirs things up as the new inmate, one of only three white men in the cell-block, who admits to having a fixation on little girls; he can't remember if he molested a recent accuser or not, but quickly becomes the target of the other inmates' rage. Davison's monologues about a lifelong predilection for jailbait don't quite contain the honest ring of truth, yet are still terribly difficult to listen to, as is most of the dialogue. The scenario is commendably not exploitative--and is blessedly free of being sexually or violently explicit--though the threat of rape hangs in the air, possibly meant as a scare tactic for younger viewers. Still, Piñero's narrative is loftier than your average cautionary tale, and the film--although far from incisive--is a hard-hitting portrait of jailhouse life. ** from ****
- moonspinner55
- Sep 3, 2011
- Permalink
The performances in film version of Short Eyes are perhaps some of the best I've seen. Short Eyes, in prison slang, means child molester. The whole play revolves on a white pedophile Clark Davis interacting in a prison whose majority are Puerto Ricans and Blacks, and Davis' interaction with Juan who attempts to come to terms with Davis' need for sex with children.
There are several memorable characters such as the very young and tender Julio, known as Cupcakes by the prisoners, who is the target of unwanted homosexual attention by several, if not all, prisoners. El Raheem is a strong black man, perhaps a Black Panther, who studies the Koran all day long and acts on his feelings of anger towards white people. Longshoe Murphy is a tough young Irish. And of course Clark Davis and Juan, who are the main characters of the play.
Pinero, who plays GoGo in his the film version of his play, wrote this play while in Sing Sing prison at around 1974 for armed robbery, and first was performed by a cast of prisoners. Short Eyes had a very short success on Broadway.
The only problem of the movie is the cinematography-it is rather boring, especially in this time where special FX of Lord of the Rings is rather common. But there are two or three rather beautiful scenes, one with a prisoner posing in front of a poster. Despite the very dated lackluster cinematography, I wouldn't hesitate to buy this film.
There are several memorable characters such as the very young and tender Julio, known as Cupcakes by the prisoners, who is the target of unwanted homosexual attention by several, if not all, prisoners. El Raheem is a strong black man, perhaps a Black Panther, who studies the Koran all day long and acts on his feelings of anger towards white people. Longshoe Murphy is a tough young Irish. And of course Clark Davis and Juan, who are the main characters of the play.
Pinero, who plays GoGo in his the film version of his play, wrote this play while in Sing Sing prison at around 1974 for armed robbery, and first was performed by a cast of prisoners. Short Eyes had a very short success on Broadway.
The only problem of the movie is the cinematography-it is rather boring, especially in this time where special FX of Lord of the Rings is rather common. But there are two or three rather beautiful scenes, one with a prisoner posing in front of a poster. Despite the very dated lackluster cinematography, I wouldn't hesitate to buy this film.
- spanishfli
- Aug 23, 2004
- Permalink
One of the best prison movies out there to see, "Short Eyes" comes to present us a bitter and cold welcoming of a new unwanted prisoner in the hall: a child molester or as inmates call, a 'Short Eye'. The man in question is Clark Davis (played by Bruce Davison), an educated man, and totally opposite background of the majority present in that prison, arrested for child abuse, stranded in a place where he has no possible chance of making 'friends', and not even the chief guard likes him, promising to make hell of his life in there. Frightened and constantly persecuted by the other prisoners, he only has the chance to share some of his thoughts with Juan (José Pérez), who tries his best to believe that the man is innocent, becoming a confident to his stories that doesn't seem to make the other an innocent person. Tension is built up when a group of prisoners decide to get rid of Clark, then....be ready for the suspense!
It's very surprising to see a theme like this being dealt in a film, presenting a tough reality in a very realistic way despite a few strange things here and there. But I gotta say that it was a little difficult to really enter in the mood of this film after seeing prisoners (one of them played by singer Curtis Mayfield, who makes the good soundtrack) doing musical numbers at the beginning, all of them happy to be there in jail; it was a little difficult to take it seriously during the first minutes. But then when Clark shows up, the movie starts to develop really well. And his character is actually more like a supporting character, the others are really the main characters and we're allowed to see their intrigues, their fight for things, for power, and their desire for Cupcakes (Tito Goya), the youngest of the prisoners. It's a well adapted play, dramatically involving, very thrilling and with lots of surprises. Must be noticed the memorable performances of the casting, with an outstanding acting coming from the always excellent Bruce Davison, who exclusively plays in other films the guy you'll always like and here, somehow you'll like him as well despite what the character represents. In real life we wouldn't feel any kind of sympathy for a man like his character.
I was unaware of this film until a little research (can't remember of what or who) that brought me to a poster with an appealing tag line, the famous 'Jesus help me, cause men won't do' (present in a dialog between Clark and Juan); after that I had to watch it and liked a lot. Might not be a "Shawshank Redemption" but it's a good film as well. One of the forgotten classics of the 1970's that deserves some appreciation. 9/10
It's very surprising to see a theme like this being dealt in a film, presenting a tough reality in a very realistic way despite a few strange things here and there. But I gotta say that it was a little difficult to really enter in the mood of this film after seeing prisoners (one of them played by singer Curtis Mayfield, who makes the good soundtrack) doing musical numbers at the beginning, all of them happy to be there in jail; it was a little difficult to take it seriously during the first minutes. But then when Clark shows up, the movie starts to develop really well. And his character is actually more like a supporting character, the others are really the main characters and we're allowed to see their intrigues, their fight for things, for power, and their desire for Cupcakes (Tito Goya), the youngest of the prisoners. It's a well adapted play, dramatically involving, very thrilling and with lots of surprises. Must be noticed the memorable performances of the casting, with an outstanding acting coming from the always excellent Bruce Davison, who exclusively plays in other films the guy you'll always like and here, somehow you'll like him as well despite what the character represents. In real life we wouldn't feel any kind of sympathy for a man like his character.
I was unaware of this film until a little research (can't remember of what or who) that brought me to a poster with an appealing tag line, the famous 'Jesus help me, cause men won't do' (present in a dialog between Clark and Juan); after that I had to watch it and liked a lot. Might not be a "Shawshank Redemption" but it's a good film as well. One of the forgotten classics of the 1970's that deserves some appreciation. 9/10
- Rodrigo_Amaro
- Sep 6, 2011
- Permalink
"Short Eyes," filmed in and about the Men's House of Detention ("The Tombs") graphically documents the thoughtless conditions which existed in American prisons in our not too distant past. Without constructive programs for learning, personal growth and self improvement, physically or mentally, the inmates were left to fester with their own negative thoughts and actions. The results of such ingrowth is presented in an inactement which helps to foster social change. While the drama may be repulsive in many ways, it nevertheless informs on a topic which is extremely important. It's up to voting citizens to wield their power in bringing about proper rehabilitative opportunites for so-called criminals. With men couped up in close confines with virtually nothing to do, who wouldn't be tempted to succumb to unconstructive activities. Miguel Pinero wrote a powerful, educational play, and members of the New York cast are to be congratulated in their skillful ensemble work.
"Short Eyes" is a low budget, independent film that simply bristles with authenticity, taking place entirely inside a prison populated mostly by minorities. The knowing screenplay is by a real-life former convict, Miguel Pinero, based upon his acclaimed play. His dialogue may be highly profane, but it's colourful and well delivered by an impressive cast of unsung character actors of the stage and screen. It's not totally without humour (some of the prisoners stage a roach race at one point), but tends to be grim, and potent overall, pushing viewers' buttons with intensity.
The scenario has a baby-faced white man (the great Bruce Davison of "Willard") brought in after he's been convicted of child molestation. Now, even people who don't work in the penal system know that even convicts tend to treat these creeps as the lowest of the low. One doesn't give much for Davisons' chances. He does make something of a connection to an even-keeled prisoner named Juan (Jose Perez, "Miami Blues"), to whom Davisons' character Clark unburdens himself.
Ordinarily, one wouldn't have ANY sympathy for a p.o.s. like Clark, but Davison is vivid and believable as a frightened, pitiable loser who's basically a victim of some sick addiction. The rest of the cast is equally good: Perez, Nathan George ("One Flew Over the Cuckoos' Nest"), Don Blakely ("Vigilante"), Tony DiBenedetto ("The Exterminator"), Shawn Elliott ("Arbitrage"), Tito Goya ("Marathon Man"), Joseph Carberry ("Missing in Action"), and Mark Margolis ('Breaking Bad'). Music stars Freddy Fender and Curtis Mayfield have cameos that allow them to sing. And keep your eyes peeled for an uncredited Luis Guzman, making his film debut in a bit part.
The material may be TOO potent for some viewers (and there is some graphic violence), but it's compelling every step of the way. This is an environment in which anybody who's not a career criminal would NOT feel safe. Director Robert M. Young, whose other credits include "Alambrista!", "Rich Kids", "The Ballad of Gregorio Cortez", and "Dominick and Eugene", shows you right away that the experience is not for the faint of heart.
The film can favourably compare to the works of Edward Bunker, himself a convict who showed a talent for writing, and wrote what he knew: "Straight Time", "Runaway Train", "Animal Factory", etc. You may recognize HIM best as Mr. Blue in "Reservoir Dogs".
Eight out of 10.
The scenario has a baby-faced white man (the great Bruce Davison of "Willard") brought in after he's been convicted of child molestation. Now, even people who don't work in the penal system know that even convicts tend to treat these creeps as the lowest of the low. One doesn't give much for Davisons' chances. He does make something of a connection to an even-keeled prisoner named Juan (Jose Perez, "Miami Blues"), to whom Davisons' character Clark unburdens himself.
Ordinarily, one wouldn't have ANY sympathy for a p.o.s. like Clark, but Davison is vivid and believable as a frightened, pitiable loser who's basically a victim of some sick addiction. The rest of the cast is equally good: Perez, Nathan George ("One Flew Over the Cuckoos' Nest"), Don Blakely ("Vigilante"), Tony DiBenedetto ("The Exterminator"), Shawn Elliott ("Arbitrage"), Tito Goya ("Marathon Man"), Joseph Carberry ("Missing in Action"), and Mark Margolis ('Breaking Bad'). Music stars Freddy Fender and Curtis Mayfield have cameos that allow them to sing. And keep your eyes peeled for an uncredited Luis Guzman, making his film debut in a bit part.
The material may be TOO potent for some viewers (and there is some graphic violence), but it's compelling every step of the way. This is an environment in which anybody who's not a career criminal would NOT feel safe. Director Robert M. Young, whose other credits include "Alambrista!", "Rich Kids", "The Ballad of Gregorio Cortez", and "Dominick and Eugene", shows you right away that the experience is not for the faint of heart.
The film can favourably compare to the works of Edward Bunker, himself a convict who showed a talent for writing, and wrote what he knew: "Straight Time", "Runaway Train", "Animal Factory", etc. You may recognize HIM best as Mr. Blue in "Reservoir Dogs".
Eight out of 10.
- Hey_Sweden
- Nov 12, 2018
- Permalink
Short Eyes, released in 1977, is a gripping and thought-provoking movie that delves into the complexities of human nature and the dynamics of power within a confined setting. The movie's raw and unflinching portrayal of life in a jail offers a stark look at the inner workings of the penal system and the individuals caught within its grasp.
The performances in Short Eyes are nothing short of extraordinary, with a talented cast bringing depth and authenticity to their roles. The character development is compelling, drawing viewers into the intertwined lives of the inmates and exploring themes of morality, redemption, and survival.
What sets Short Eyes apart is its ability to provoke deep emotions and challenge conventional perspectives. The movie's disturbing moments force audiences to confront uncomfortable truths about society and human behavior, making it a truly unforgettable viewing experience.
Overall, Short Eyes is a powerful and unforgettable movie that leaves a lasting impact on its audience. Despite its unsettling nature, the movie's honesty and depth make it a must-watch for those seeking thought-provoking cinema that pushes boundaries and sparks meaningful discussions.
The performances in Short Eyes are nothing short of extraordinary, with a talented cast bringing depth and authenticity to their roles. The character development is compelling, drawing viewers into the intertwined lives of the inmates and exploring themes of morality, redemption, and survival.
What sets Short Eyes apart is its ability to provoke deep emotions and challenge conventional perspectives. The movie's disturbing moments force audiences to confront uncomfortable truths about society and human behavior, making it a truly unforgettable viewing experience.
Overall, Short Eyes is a powerful and unforgettable movie that leaves a lasting impact on its audience. Despite its unsettling nature, the movie's honesty and depth make it a must-watch for those seeking thought-provoking cinema that pushes boundaries and sparks meaningful discussions.
- deadbull-95171
- Jan 6, 2021
- Permalink
- mark.waltz
- Nov 10, 2022
- Permalink
I warn you, beware, this prison drama is not advised for the squeamish. It is brutal, disturbing, nasty. The tale of a young White man falsely accused of a child rape who is sent in jail, just in the middle of Puerto ricains and Black inmates, all aware of what this young man was accused of. With expected results...I repeat, this is a terrific, outstanding movie, and unfortunately unknown from the large audiences. It is a shame because it sounds realistic. I don't think it is inspired from actual events, but I am sure that such things already happened. A milestone in jail stories for me, but underrated for my taste.
- searchanddestroy-1
- May 7, 2023
- Permalink
Child molester ''Short Eyes'' (Davidson) gets what's coming to him from his disgusted fellow inmates. Gripping, graphic, violent film was shot in the Tombs, the NYC prison. Powerful acting. Rated R for violence and profanity.
- killiansreddnj
- Apr 21, 2003
- Permalink
"Short Eyes" is an interesting film, it has many good points but at the end of the day it suffers from being viewed with the experience of 23 years of other films between the viewer and the production.
Even looking at it based on dramas of the time , it would have been dated then and a moral hodge podge of "hippy" sentiment without the real "streetwise" attitude that it needs and wanted to so much. It even has a dreadful prison "sing-a-long" (only included because Curtis Mayfield leads the scene (otherwise it would not have been shot !) , the song itself is so well produced , and without having a wild track added makes you laugh at the pretentiousness of the scene rather than take it seriously.
Having said that thou , it still has one or two scenes that shock , and I did not expect the ending that we got , and I did like it and would recommend it to everyone , but as long as they understand the time it was from , its a good film but time is not being kind to it.
Even looking at it based on dramas of the time , it would have been dated then and a moral hodge podge of "hippy" sentiment without the real "streetwise" attitude that it needs and wanted to so much. It even has a dreadful prison "sing-a-long" (only included because Curtis Mayfield leads the scene (otherwise it would not have been shot !) , the song itself is so well produced , and without having a wild track added makes you laugh at the pretentiousness of the scene rather than take it seriously.
Having said that thou , it still has one or two scenes that shock , and I did not expect the ending that we got , and I did like it and would recommend it to everyone , but as long as they understand the time it was from , its a good film but time is not being kind to it.
- sirarthurstreebgreebling
- Dec 12, 2000
- Permalink