In the 2020s, we are often told what “real men” used to be like. Figures such as Andrew Tate constantly reference the men of the 20th century as being warriors, people with authority, men who took what they wanted. This narrative of lost masculinity of the past is reinforced by popular media, sometimes unintentionally. Anti-heroes such as Thomas Shelby from Peaky Blinders are often viewed by young men as being an ideal representation of a bygone manhood. What is the cure for this? How can we move the cultural depiction of masculinity away from the idea of a violent, dominating conqueror towards something more positive? Ironically, the answer also lies in the men of the past.
This brings me to Cool Hand Luke. A 1967 prison drama, starring Paul Newman (Butch Cassidy himself!) as the titular character. The film, set during the 1950s, centres on Luke’s time as part of a chain gang in America’s Deep South: it is him squaring off against the tyrannical prison warders who attempt to break his spirit as he refuses to conform to prison life. The movie is reminiscent of stories such as One Flew Over The Cuckoo’s Nest, dealing with similar themes such as authority, resistance and ways in which societal institutions use various control methods to get people to comply. Both films feature an outsider character entering a hostile institution and “shaking it up,” often inspiring those around them to resist. Yet, Cool Hand Luke’s central character is decidedly more relaxed than other feature heroes of his time. Luke’s resistance initially comes from his sense of humour and his refusal to take the prison authorities seriously. He earns the respect of his fellow inmates, not due to any acts of physical strength, but instead through his refusal to change himself. This can be seen early on when Luke boxes with reigning prisoner, Dragline (George Kennedy). Whilst Luke is beaten physically, he refuses to stand down or give up. Dragline subsequently turns from being one of Luke’s greatest detractors to his closest friend.
The film makes various allusions to the story of Christ, both via imagery and plot points. Throughout, Luke performs various feats that could be seen as his “miracles.” He leads fellow inmates in paving a road in a single day, eats 50 eggs in an hour, and at two points, successfully escapes the prison. His breakout attempts are motivated by the death of his mother, who had visited Luke one final time shortly before her passing, creating one of the picture’s most emotional moments; their special relationship is reminiscent of Jesus’ relationship with Mary. Interestingly, his absent father, who we never see, could allude to God. Luke is also tortured and humiliated by the prison guards, and before his death, talks to God as Jesus did in Gethsemane. Yet, Luke refuses to be a Messiah figure to the other inmates. He grows frustrated with their dependence on him and instead motivates them to try and escape the prison and pursue their own freedom. He does not seek to lead his fellow prisoners, but encourages those around him to stand up for themselves.
So, why do I see Cool Hand Luke as an antidote to the toxic masculinity of today? Firstly, the film is undoubtedly ultra masculine in its aesthetics. It centres around men existing in a rough environment, often doing hard labour under the constant threat of physical violence. However, the answer to this, as presented in the film, is not to play into a violent patriarchal structure. Instead, Luke’s civil disobedience and laid-back attitude disrupts the hierarchy and makes him a threat to those in power. Luke is not a “real man” because of his ability to dominate others, but because he acts in ways that he believes to be right. Secondly, his similarity to Christ and non-violent nature is distilled into a secular format which is not preachy but ever so poignant. In a Film and TV landscape that often portrays physical dominance as the only way a man can stand up for himself, a hero as… well, cool as Luke… is just what audiences of today need.
“Cool Hand Luke | Paul Newman | Madame Tussauds Hollywood” by JeffChristiansen is licensed under CC BY 2.0.