Very very predictable, including the post credit scene !!!

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

Without resorting to the type of melodrama that some of the Warner Brothers pictures of the same era tended to do, "Riot in Cell Block 11" is a fairly gritty piece of work that surprises with characters on both sides of the jail cell expressing similar views. The film attempts to influence the viewer toward a need to improve prison conditions in general, and in that regard, the warden in charge (Emile Meyer) agrees with the prisoners that something needs to be done to improve physical conditions, train them for a trade once they're released and keep the mentally challenged separate from the population at large.That mentally challenged part gets a workout in the story from inmate Crazy Mike Carnie, realistically portrayed by veteran character actor Leo Gordon. Until researching this picture I had no idea he was once incarcerated himself for armed robbery, and I never noticed his formidable physical appearance before in a handful of Western movies and TV series appearances. Suffice it to say he could have handled himself credibly in any situation he might have encountered.The choice of leader for the prison uprising featured here was also a casting coup; Neville Brand had the perfect face and demeanor for a convict ready to explode. His no nonsense approach demanded the killing of a guard for every prisoner who died when the authorities attempted to regain control. Interestingly, things didn't go that far even when one of the inmates died following the state police advance on the prisoners during the siege.Though the newspaper headlines proclaimed 'Rioters Win' once the state governor signed off on the prisoner list of demands, the victory for the inmates was a short lived one. One almost feels sorry for convict leader Dunn (Brand) when he learns he'll face charges and a potential thirty year prison term for leading the riot, offset by the warden's partial victory in getting needed repairs for the prison and having the mental defectives like Carnie segregated from the main population. That was a perfect moment for Dunn to go ballistic on the warden but the picture didn't go in that direction.For a more recent picture, 1980's "Brubaker" does a commendable job of exposing corruption in the prison system, with an emphasis on the attitude of politicians who would rather look the other way when it comes to prison reform. In that one, Robert Redford portrays a newly assigned prison warden who integrates his way into the prison population to take on corruption from the inside.

After the credits the opening scene is done in documentary style. The headline reads "Riots Rip US Prisons" in 35 states, with massive destruction costing millions of dollars. An authority, Richard McGee (as himself), says that the reasons for the mass disturbances are the neglect of institutions by government leaders, with the public being culpable. This beginning sets the tone for the rest of the movie. The next scene displays the inside of Folsom Prison in northern California (located outside of Sacramento) where 4,000 inmates are incarcerated. The toughest prisoners, who have a chalk mark "X" on their individual cells, are fed individually. Before long a guard is overpowered, then three others. They are held hostage while other convicts are released from their cells. The inmates barricade themselves inside the cell block. When Warden Reynolds (Emile Meyer) appears, convict James Dunn (Neville Brand), the leader of the riot, tells him that he wants the press to hear his demands. The motivation of the inmates is reform, not break-out. Initially the prisoners demand less overcrowding and a works program. But Commissioner Haskell (Frank Faylen), the governor's representative, wants no concessions and threatens to execute the ringleaders if the guards are not released. Early on the riot is confined to Cell Block 11 before it spreads to other prison areas, like the mess hall in Cell Block 4. There is continuous destruction and looting. When the state police arrive they force the rioters back into blocks although Cell Block 11, now with nine captured guards, holds out. With the help of an educated inmate, ex-army Colonel Vanna (Robert Osterloh) – who is serving time for manslaughter – the prisoners prepare their full demands in writing. They include: (1) remodeled Cell Block 11 with better lighting, (2) reduced overcrowding, (3) separation of the psychopaths from younger inmates, (4) removal of leg locks or chains, (5) instituting a program for teaching trades to convicts, (6) removal or chastisement of brutal guards, (7) improving the quality of food, and (8) no reprisals. Ironically the warden has generally pushed for the same reforms in the past, although the commissioner still refuses concessions. Meanwhile Dunn has some difficulty in keeping the prisoners in line as prisoner factions develop. When Dunn is wounded by a crazed convict, next-in- command "Crazy Mike" Carnie (Leo Gordon), a large and dominating man with much less balance than Dunn, takes control. The prisoners are divided whether to kill one or more of the guards as Haskell decides to blow up a portion of the cell block. The rioters fasten the captured guards up to the wall that is scheduled for demolishing, but just in time the governor and the warden sign the prisoner demands. Next day the morning newspaper headline screams, "Rioters Win!" Alas! There is a twist at the end. Not only does the state legislature repudiate the agreement, but also Dunn has to stand trial for inciting the riot and kidnapping the guards. He can get thirty years jail time. Colonel Vanna will get parole, and Carnie will be shipped off to a mental institution. The one saving grace for Dunn is the publicity emanating from the riot. Ironically, Producer Walter Wanger had served four months' time for attempted murder. He shot a man who was having an affair with his wife, actress Joan Bennett. With Director Don Siegel, he planed on making a movie that replicated the appalling conditions he witnessed during his confinement. He succeeded on a low budget, even though the main characters were not well-known at the time; real guards and convicts were even used as secondary characters. Note that domineering actor Leo Gordon was indeed an ex-con who served five years in San Quentin for armed robbery. Director Siegel even claimed, "Leo Gordon was the scariest man I have ever met." And that's about as genuine as a movie can get!

"Riot In Cell Block 11" is a fast-moving, low budget, prison drama that's violent, gritty and extremely hard-hitting. Its story about a riot that's organised to achieve better living conditions for the convicts in a large prison forcefully illustrates the reasons for their grievances and highlights the numerous problems associated with trying to make any meaningful improvements. With its relatively short running time, its style is predictably punchy, direct and economical but what makes it more remarkable is the intelligent, balanced and sincere way in which the whole subject of prison reform is examined.This movie is a typical docu-noir as it features extensive location work, a newsreel-style narration and many actual prisoners and guards appearing as extras. Additionally, one of the main characters is played by Leo Gordon who'd spent time in prison for armed robbery and its producer Walter Wanger also served a sentence for shooting a man who he believed was having an affair with his wife (movie star Joan Bennett). Wanger's experience made him a passionate advocate of prison reform and no doubt, is one of the reasons why the movie provides such a powerful and authentic picture of prison life in the 1950s.A group of prisoners break out of their cells one night and start a riot before overcoming their guards and holding them as hostages. The prisoners' leader James V Dunn (Neville Brand) makes the men's grievances known to the warden and threatens to kill the guards unless he's allowed to explain the men's demands to the press. Warden Reynolds (Emile Meyer) agrees and Dunn subsequently tells a group of reporters that the prisoners want an immediate end to overcrowding, terrible food and the practice of housing mentally ill convicts with the general prison population. Furthermore, they want an end to the beatings that are routinely meted out by the guards.In response to the trouble at the prison, the governor had sent his emissary, Commissioner Haskell (Frank Faylen) to negotiate on his behalf but on hearing the prisoners' demands, he refuses to make any concessions and threatens to have all the men executed unless they hand the guards back unharmed. Dunn's second-in-command, Crazy Mike Carnie (Leo Gordon), a man who's less stable than Dunn, becomes so incensed at Haskell's stance that he throws a knife at him and wounds him in the chest.To reinforce his intransigent stance, Haskell arranges for the state police to end the problems in cell block 11 by blowing a hole in a wall and the prisoners respond by tying their hostages to the same wall. Surprisingly, however, before the planned explosion takes place, the prisoners receive a message to confirm that the governor has agreed their demands and their victory is also reported in the newspapers. The events that follow don't work out in the way that the prisoners had envisaged and ultimately, they're left with mixed feelings.The divisions that exist within both sides who are involved in the dispute at the prison are clearly described as Dunn has to control the recklessly violent Mike Carnie, see off a challenge by another psychopathic prisoner who wants to take over the leadership role and confront the apathy of another man who doesn't want to participate because he expects to be paroled soon. Similarly, the sympathetic warden, who has long advocated the reforms that the prisoners want is forced to follow the course dictated by his political bosses who have their own reasons for not wanting to make concessions.Neville Brand and Leo Gordon are well cast as the two leaders of the riot and Emile Meyer is incredibly subtle and strong in his portrayal of the warden who carries out his orders with great dignity whilst at the same time feeling completely frustrated by regularly seeing men so brutalised by their experience in prison that 65% of them consistently re-offend. "Riot In Cell Block 11" is a movie that says a great deal in a short space of time and commendably recognises the complexities involved with prison reform rather than just resorting to using stereotypes and promoting simplistic solutions.

Gritty, realistic, semi-documentary style, early film from Don Siegel - two years before 'Invasion of the Body Snatchers'. Essentially a social comment film about the poor conditions in prisons, 'Riot in Cell Block 11' doesn't force its point with cliches and manages to be an effective 'B' Movie.The storyline starts quickly with a group of prisoners taking their warders hostage and barricading themselves in their cell block. Narrative then follows the proceedings to their conclusion, the action never straying from the prison itself.Film succeeds mainly as a result of not having any forced characters - none of the prisoners are particularly likable and there are none of the usual dumb characterisations usually found in prison movies. The various authority figures deal with the situation they are presented with in a matter of fact way, and the films stark style remains through to the end. As I was watching 'Riot in Cell Block 11' I was dreading some wise old sage prisoner coming out of the woodwork, due for parole the following week, who was somehow going to contrive to get himself shot just as the riot was coming to a close, to enjoy a lengthy death scene in someone's arms. Thank goodness nothing like this occurs.Film made me think of 'Killer's Kiss', in that they are both 1950's low-budget movies with great potential, from a soon-to-be famous director. 'Riot in Cell Block 11' succeeds in all areas, and while its targets may be low it certainly deserves more recognition.