Big House, U.S.A (1955)

Good movie but grossly overrated

A Disappointing Continuation

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

One of the worst ways to make a cult movie is to set out to make a cult movie.

Big House USA sounds like a prison picture, but only in part of the film is the setting a maximum security prison. There is the part how Ralph Meeker got there and the last part about his escape with several other solid citizens, residents of Big House USA.A young boy with one rich father is kidnapped by Meeker and dies while in his custody. Not that he killed him, but kidnapping alone as per the Lindbergh law gets him the gas chamber. Father Willis Bouchey pays the ransom, but gets no child back.Meeker is arrested, but all he's charged with is extortion, without a body dead or alive, the authorities can do no more. But with the reputation as a child killer, Meeker's not going to be a popular guy even in the maximum security federal penitentiary he's sent.But cell-mate Broderick Crawford has other ideas about the ransom money never recovered and buried in a national park. He and confederates Lon Chaney, Jr., William Talman, and Charles Bronson escape with Meeker. They had an escape plan in the works already, a quite ingenious one which costs another prisoner his life during a dry run.A chance to see all these guys in a film is never to be passed up. Crawford we're told is a smart guy. Personally if he were that smart he'd have realized that the authorities would know full well he was heading for the park and go anywhere else. But greed overtakes intelligence.There's also a nice role here for Felicia Farr as Meeker's accomplice. FBI man Reed Hadley and chief forest ranger Roy Roberts represent the law. Big House USA spends more time in the wide open spaces than in a maximum security prison. Still it's a tight little noir film with a fine cast of players.

Big House, U.S.A. is directed by Howard W. Koch and written by John C. Higgins, George George and George Slavin. It stars Broderick Crawford, Ralph Meeker, Reed Hadley, William Talman, Lon Chaney Jr., Charles Bronson and Felicia Farr. Music is by Paul Dunlap and cinematography by Gordon Avil.A Kidnap, A Ransom and A Prison Break = Powder Keg.Out of Bel-Air Productions, Big House, U.S.A. is a relentlessly tough and gritty picture. Beginning with the kidnapping of a young boy from a country camp, Howard Koch's film has no intentions of making you feel good about things. Deaths do occur and we feel the impact wholesale, tactics and actions perpetrated by the bad guys in the play punch the gut, while the finale, if somewhat expected in the scheme of good versus bad classic movies, still leaves a chill that is hard to shake off.Split into two halves, we first observe the kidnap and ransom part of the story, then for the second part we enter prison where we become cell mates with five tough muthas. Crawford, Chaney, Meeker, Bronson and Talman, it's a roll call of macho nastiness unfurled by character actors worthy of the Big House surroundings. The locations play a big part in the pervading sense of doom that hangs over proceedings, Cascabel Island Prison (really McNeil Island Federal Penitentiary) is every bit as grim as you would expect it to be, and the stunning vistas of Royal Gorge in Colorado proves to be a foreboding backdrop for much of the picture.Although it sadly lacks chiaroscuro photography, something which would have been perfect for this movie and elevated it to the standard of Brute Force and Riot in Cell Block 11, Avil's photography still has the requisite starkness about it. While Dunlap scores it with escalating menace. Not all the performances are top draw, more so on the good guy side of the fence, and some characters such as Chaney's Alamo Smith don't get nearly enough lines to spit, but this is still one bad boy of an experience and recommended to fans of old black and white crims and coppers movies. 8/10

Some brilliant actors inhabit this "B" crime melodrama from the mid 50's. This independent film simply adds "USA" to the title (minus "The") of the 1930 prison movie that was way ahead of its time in its depiction of prison violence. That film, along with "Brute Force", remains a classic in the genre of life-after-crime films. This film, however, doesn't have that reputation. It is, however, the genesis of a crime, here a kidnapping gone wrong, that results in the criminal (Ralph Meeker) gaining the nickname "Ice Man" in prison for his cold demeanor in the way he denies having seen the victim, sadly an 8 year old boy he kept hidden while trying to extort money from his wealthy father.Like child molesters, kidnappers of children in prison are considered the lowest of the low, and in this case, Meeker's cell-mates (Broderick Crawford, Lon Chaney Jr., Charles Bronson) ostracize him immediately. But knowing he has ransom money stashed away, they decide to include him in on their escape plans, with the intention of killing him once he leads them to it. This leads them back to the scene of the original crime where there is a sad, ironic conclusion that is unfortunately still too real in crime solving.All of the actors are excellent, even if they are playing totally despicable people. The prison scenes don't begin until half way through the film even though Crawford is top-billed. Meeker is really the focus of the film. There are some genuine horrifying visuals, especially the fate of the asthmatic 8 year old. This is not for ultra-sensitive movie viewers. It is interesting to note that Bronson, pretty much shirtless in his entire time on screen, has a physically amazing torso. Crawford and Chaney's characters are pretty interchangeable. Like most crime dramas or 50's film noir, the film has the typical documentary-like narration that by this time was totally clichéd. The result is a gripping but ultimately depressing film that will leave the viewer speechless.

The film begins with a little boy getting lost while at summer camp. Ralph Meeker finds the boy and pretends to be helping him, but actually is intent on kidnapping him and holding him for a huge ransom. Unfortunately, the kid dies while in his care but Meeker is an animal and STILL proceeds to get the money and then tries to skip town. However, the cold and calculating killer is caught and sent to prison--but unfortunately, all they can prove is that he extorted the money--not that he had anything to do with the boy's disappearance.This is sort of like a prison movie merged with a Film Noir flick. That's because much of the beginning and ending of the film is set outside prison and its style throughout was rather Noir inspired--with a format much like an episode of DRAGNET (the bloodier 1950s version, not the late 60s incarnation). However, it did lack some of the great Noir camera-work and lighting as well as the cool Noir lingo--but it still succeeded in telling a great story. What was definitely Noir was the unrelentingly awful and brutal nature of the film--a plus for Noir fans. Now I hate violent and bloody films, but this one was a bit more restrained but still very shocking for a 1950s audience--featuring some of the most brutal plot elements of the decade (tossing a child's body off a cliff, burning a corpse with a blowtorch to confuse in the identification of another corpse and the scene with the escaped prisoner who is scalded to death). Because of all this, the film was above all else, realistic and shocking--much of it due to the excellent script, straight-forward acting and a few excellent and unexpected plot twists.By the way, this is one of the earliest films in which Charles Bronson appears with this name (previously, he'd been billed as "Charlie Buchinsky"). When he takes his shirt off in the film, take a look at how muscle-bound he was--I sure would have hated to have tangled with him!! In his prime, he might have been the most buff actor in Hollywood history who DIDN'T suck down steroids (and, consequently, had minuscule testicles from this drug).