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Fans of Robert Aldrich's movies have always been divided over "The Mean Machine" (aka "The Longest Yard"). Is it the fruition of the director's cynical promise - as evidenced in films like "Kiss Me Deadly" - or is it just a sign that, by 1974, he'd well and truly sold out? It all hinges on whether you believe the film's closing scenes are as optimistic as they first appear.
As a star vehicle for Reynolds, "The Mean Machine" couldn't be further away from the glossy "Smokey and the Bandit" series that he ended the 70s with. His Paul Crewe is a superstar quarterback with a dubious past, who ends up in a Florida prison among the thieves, rapists, and murderers.
Forced to train a football team to give the warden's team of guards some practice, Crewe decides to lead the prisoners in an on-field revolt against the screws. But as a man who previously took a bung to throw a match, can he be trusted this time around?
With its Nixon-esque prison warden (Albert) - "Before this game is over, I want every prisoner in this institution to know about power and who controls it" - "The Mean Machine" is clearly a comment on American politics after Watergate.
Yet Aldrich never lets this serious subtext get in the way of the (vaguely reprehensible) violent fun. Joseph Biroc's washed-out photography, meanwhile, adds an oppressive sultriness to proceedings.
The lengthy football game is one of the most enjoyable sporting events ever put on film, with the convicts trying every dirty trick they know to not only beat but also thoroughly stomp on the guards. Even so, Aldrich leaves us in no doubt that the Mean Machine's triumph is ultimately going to be very costly for all concerned.
Read our review of the Vinnie Jones remake.
