The Defiant Ones (1958)

Noah Cullen and John “Joker” Jackson, two members of a chain gang (Sidney Poitier and Tony Curtis) use a vehicular accident as an opportunity for escape; unfortunately for them there is quite a bit of racial tension between them, (they are fighting as the accident happens; they cannot even agree on whether to travel North or South,) and so they must overcome their enmity and cooperate if they are to successfully gain their freedom from the law.

Unfortunately, for some people of certain generations coming to this movie late, the setup is virtually a cliché.

I first saw the situation spoofed on the Warner Brothers’ D' Fightin' Ones (1961) cartoon short when I was a kid in the early 70s; and variations after that even include Who Framed Roger Rabbit (1988) at least for a short segment. And so, because of feared familiarity I did not quite have this one on the priority setting it rightfully deserves.

Last night, seeing that it was about ninety minutes long, and that it fit in my schedule perfectly we gave it a shot.

So yeah, we get the racial tension we were expecting, obviously.

The story can only possibly end in a few different ways, one or both escapes, or one or both die. Just how much of a Film Noir will this be?

How much of their faith in humanity (or lack thereof) will the film makers allow themselves to reveal?

It’s made quite clear that even while both these two characters are in peril, Cullen is even more so.

There are some unexpected turns at a mining colony, and at a farm, where they meet with other characters who permit themselves to identify with the fugitives.

Lon Chaney Jr. as a miner still bears the scars of a manacle from a past stay in prison.

Cara Williams‘ husband left her alone to deal with a farm and a kid, and she can see out of her window only thru bars: She is as much a captive, and unable to escape as these two prison-breaking fellows.

One might be immediately suspicious of the single, all-alone, mother. Why is she not afraid?

But, what if the two prisoners hadn’t been the young and attractive Poitier and Curtis?

What if Poitier wasn’t safely married, or what if Curtis wasn’t safely single?

Has she quickly seized up on the situation and figured she can come out ahead, somehow? It is easy to get this impression.

Poitier and Curtis’ talents overcome the potential dangers of what could simply have been a sledgehammer, moralistic allegory, (which is what I was afraid this would be) and their characters transcend. Simply take a quick glance at most of the movies made in its wake following this template, many of them even space and post-holocaust fantasies.

Based on the empathy on display we might not be at all surprised, despite early suspicions, that the story ends up being a true tale of redemption.

No matter how the story gets resolved (no real spoilers here!) the two characters are able to rediscover their common humanity.

The amazing cast also includes Theodore Bikel, Claude Akins, Whit Bissell, Carl "Alfalfa" Switzer (in his last role.)