5/10
Limp re-make!
22 May 2018
Warning: Spoilers
Copyright 17 February 1940 by Warner Bros Pictures, Inc. New York opening at the Globe: 3 March 1940. U.S. release: 15 July 1940. Australian release: 18 April 1940 (sic). 77 minutes. Censored to 58 minutes in Australia.

U.K. and Australian release title: YEARS WITHOUT DAYS.

SYNOPSIS: Mobster Tommy Gordon is not worried about being sentenced to Sing Sing because he believes his political pals will get him a fast parole. He tells his girlfriend, Kay, not to worry. He makes no effort to reform in prison, and after causing a near-riot is given three months in solitary confinement by Warden Long, a dedicated prison reformer. After the ninety days in solitary, Tommy concedes that his friends have deserted him, and he joins a group of convicts planning to escape.

NOTES: A re-make of 20,000 Years in Sing Sing (1932).

John Garfield was extremely popular in Australia when this film was released, but close to 20 minutes of censor cuts put paid to any hopes that Warner Bros entertained for big money at Oz ticket windows. Instead the movie had to be released at flat rates as a "B"-grade support.

COMMENT: It's hard to believe that Anatole Litvak had anything to do with this limp re-make, let alone direct it. Great cast too. But despite forceful playing by the charismatic Garfield and personable Sheridan, the characters never really come across. As a result, the story has little impact. Weak support playing by Pat O'Brien (especially) and Jerome Cowan doesn't help.

True, part of the problem lies in the script. O'Brien's role is not built up sufficiently to make him a sympathetic figure. He's always just a minor character. This lack of audience empathy with Warden Long robs the climax of much of its drama.

Of the big support cast, only Burgess Meredith really makes an impression, though Guinn Williams has some effective moments.

Technical credits are smooth, but undistinguished. Like the script, the film editing tends to be flaccid, with scenes held too long and then faded out in a somewhat old-fashioned way that militates against the realism so vital to this story.

Production values do not impress half as much as Twenty Thousand Years
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