Cinema Revisited: The Big House (1930)

Directed by George W. Hill. Cast: Wallace Beery, Chester Morris, Robert Montgomery, Leila Hyams, Lewis Stone. Released June 14, 1930. Running time: 87 minutes

"The Big House" is a foundational film, on several levels, both historically and aesthetically. Most notably, it is the basis for any prison drama made afterward. The performances by Wallace Beery, Chester Morris, and Robert Montgomery, are exceptional, featuring each of these fine actors at somewhere near their best. But, most of all, "The Big House" is brilliantly directed by George W. Hill, who would have lived on as one of the finest filmmakers in movie history if not for his 1934 suicide. "The Big House" is his masterpiece.

The film opens with Kent Marlowe (Montgomery) being sent to a ten year prison sentence after accidentally killing a man while driving drunk. Montgomery appears scared, bewildered, unable to grasp his surroundings after being privileged his whole life. When he enters the confines of his prison cell, he meets up with Machine Gun Butch (Beery) and John Morgan (Morris). Francis Marion's script presents the hardened criminals as having redeeming qualities, while the rich young man who made a mistake is sneak and unscrupulous along with being a coward. Butch is tough, but offers something of an avuncular presence. Morgan is tougher, but functions as a veritable big brother.

Screenwriter Marion traveled to prisons at MGM's expense, observing conditions and interviewing prisoners. The warden reminded her of actor Lewis Stone, so she arranged with producer Irving Thalberg that Stone be cast in the role. The realism of her dialog and the prison situations is what likely led to her being the first woman to receive an Oscar in a non-acting role, winning for this screenplay. She was married to director Hill at the time.

George Hill does an extraordinary job with his establishing shots, showing rows of prisoners in formation, marching to mess hall, recreation, or to their cells. A tracking shot of Montgomery slowly and apprehensively climbing the spiral staircase to his cell during the early portion of the film is one of the finest visuals in the entire movie. Hill uses darkness and light, action within the frame, and his succession of shots with a keen visual sense that borders on the artistic. One can only imagine what he might have done had he lived longer.

There are a number of highlights. In one, Beery chews the scenery as only he can as he protests the bad food they're forced to eat in the prison cafeteria (a seen that was later parodied by Leslie Nielsen in one of the Naked Gun movies). As Beery escalates his protest, the other prisoners in the crowded cafeteria respond in kind, and soon they're all throwing their tin cups. Hill alternates between a closeup of Beery, a medium shot, and an overhead shot that frames the action. A pan of the prisoners singing hymns during a worship service, and the exciting prison break finale, are among this film's other highlights.

A tangential romance between Morgan (who briefly escapes) and Marlowe's sister (Leila Hyams) seems a bit distracting and convenient. It is the movie's only flaw.

A year later, Laurel and Hardy parodied this film with their first full-length feature "Pardon Us." A more compact comedy version, it is even more enjoyable with this original as a frame of reference (just as "Young Frankenstein" is funnier after a familiarity with the Universal monster movies).

"The Big House" remains the quintessential prison movie, as no subsequent film has been able to match its brilliant direction, fine writing, and magnificent performances. Any study of successful early talkies must include this as a prime example.