Word: luke
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Dates: during 1960-1969
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...Leverett House and Silver Spring, Md.; vice-president, Joel S. Perwin '70 of Quincy House and Coral Gables, Fla.; treasurer, Edward W. Jones '70 of Kirkland House and Bowling Green, Va.; corresponding secretary, Frances Pritchett '69 of South House and Little Rock, Ark.; home secretary, Ronald T. Luke '70 of Kirkland House and Dallas, Texas,; director of publicity, James M. Fallows '70 of Adams House and Redlands, Calif.; and director of research, Robert H. Daniels '69 of Quincy House and Burlington...
COOL HAND LUKE. A cocky prisoner (Paul Newman) becomes a hero to his fellow inmates by repeatedly escaping and indomitably refusing to knuckle under to sadistic guards...
Religious symbolism is an undercurrent throughout the film. Crosses abound: the final overhead shot of a cross-roads, a photograph ripped in the shape of a cross, Luke sprawling crucified in a pit-grave...
...Luke is no run-of-the-mill Christ figure. He is above all a rebel and his deification is reserved for the finale. He is far more Marlon Brando than Billy Budd. He tries to escape from camp twice and is brutally punished. Beaten into submission, he tells the guards, "I got my mind right. Don't hit me anymore." But he gets away again and is eventually trapped in a church, where with cops and rifles all around, he calmly sticks his head out a window and gets it blown...
Rosenberg's spectre of authority is highly effective. Strother Martin is perfect as the camp warden. He speaks in a slow, mad, Truman Capote-like whine. In one scene, after savagely caning Luke, he looks at him writhing on the ground and says, "What we have here is a failure to communicate." This is the point--there is no communication between real men like Luke and the authority of a dull, oppressive society...