THE DEFIANT ONES (1958) B/W widescreen 97m dir: Stanley Kramer

w/Tony Curtis, Sidney Poitier, Theodore Bikel, Charles McGraw, Lon Chaney Jr., King Donovan, Claude Akins, Lawrence Dobkin, Whit Bissell, Carl "Alfalfa" Switzer, Kevin Coughlin, Cara Williams

From The Movie Guide: "Tony Curtis and Sidney Poitier are handcuffed together as white and Black escaped convicts in the South in this classic liberal adventure from Stanley Kramer. Their plight is an all-too-obvious metaphor for American race relations. Though the political lesson drives the movie, the action is also effective as the odd couple flees from their oppressors. This is an engrossing depiction of racial tensions and an oppressive penal system. Both Poitier and Curtis give memorable performances. Curtis's portrayal of a bigoted uneducated Southern 'cracker' is probably the best performance and role of his career. This was the film that established Poitier as a star."

The following contains information you may not want to know before viewing the film for the first time:

From StuDocu website (www.studocu.com), this analysis of the film, written in 2018 for an English class at Florida State University by Daniela Saenz:

"The Defiant Ones is a classic movie that was directed by a liberal man by the name of Stanley Kramer and was shown to the public in 1958. This exhilarating black and white dramatic-action film leaves you on your toes as you take on the extraordinary journey between two fugitives on the run searching for freedom. The twist that shocks its audience, especially at such a critical time, is these fugitives are chained together by 29 inch shackles and one is a white man and the other is an African-American man. The film is filled with symbolic messages and an unforgettable screen play that is extremely moving to one’s feelings as it screams out for equality amongst races. These two runaways, as a team, go through the hardest of times, dealing with an immense amount of hatred for each other to start with, then to manage the police, threatening bloodhounds, a lynching mob, radical townspeople, and a very complex obstacle that includes swamps and unpleasant weather. Despite the controversial situation, the movie highlights the removal of racial bigotry as the tagline explains their predicament, 'They couldn’t like each other less. They couldn’t need each other more.'

"There are many prominent scenes that depict the rhetoric and exigence behind the film that ultimately was the reason why the movie had nine nominations for awards. I believe the most outstanding and representative scene of the film is one of the very last scenes where Jackson and Cullen are making their last escape attempt by train. As they both run with fear, Cullen is able to jump on to the train and extends his arm out to help Jackson get on. The specific focused shot where Jackson’s hand is reaching so desperately for Cullen's help is a huge symbolization and thrilling gesture as it amplifies the notion of a white man needing a black man and there is no resentment amongst races, just love. The shackles are no longer binding them as their emotional bond has taken over their friendship. Unsuccessful, they both tumble off the train revealing and justifying the two humane characters and how much they have grown throughout their plight.

"What I appreciated from the movie is its visible themes that stand out in such a conflicting time. You almost immediately know what the movie is about 5 minutes into watching as the protagonists show nothing but hatred for each other. Already racism has been displayed but the audience can’t tell the moral outcome just yet. Then, the film expresses the reason why there’s such hostility between the two and why there’s such a drastic divide of humanity and it's the society and communities that surround them! There is a scene where Jackson calls Cullen the N-word and continues by saying, 'Well, that’s what you are, aint it? It’s like calling a spade a spade ... that name sure bugs you, don’t it? Well, that’s the way it is, and you’re stuck with it, cause I didn’t make any rules.' There is such an implemented ideology in both their heads to be prejudiced and ignorant. Yet, what the audience sees is a notable spark in both characters which brings a commonality to them other than just being convicts. This spark represents the potential integrity they have and the emotional growth they will obtain due to each other's help and support. The moral of this film is the necessity and the possibility to unite races. It raises the awareness that there are solutions for racism and explains this through compassionate cinema. Society at the time harshly suppressed the spark of humanity, but the film brings it all together and evidently shows the small victory of men of two different races becoming the best of friends."

Oscars for Best Original Story and Screenplay (Nathan E. Douglas, Harold Jacob Smith) and B & W Cinematography (Sam Leavitt). Also nominated for Best Picture, Director, Actor (both Curtis and Poitier), Supporting Actor (Bikel), and Supporting Actress (Williams).