A well-intentioned but unexceptional movie

Rating: Null/10 (20 February 2001)

I came expecting a masterpiece and left with the impression I'd seen a relatively unremarkable film with pretensions of profundity. Put plainly, the primary message is "Hope sustains the human spirit in a world of hardship and despair," which is a truism that would fit nicely in a fortune cookie. Nonetheless, the power of hope can serve as an affecting theme. Perhaps this common theme is taken by so many as great depth because so much of Hollywood's product these days is appallingly shallow or callously brutal. Apparently, the public is desperate for something to care about.
The direction is somewhat mannered and reminiscent of older films, which in itself is neither good nor bad. But in this case it blends with a storyline that seems virtually comprised of movie cliches of prison life. The characters are also stereotypes: the evil warden (bible-toting, naturally!), the brutal and inhuman prison guard, the gang of prison buddies, the gang of cell block victimizers, the experienced convict who has mastered the system (played by Morgan Freeman), the enigmatic newcomer who works subtly to subvert the system (played by Tim Robbins) -- all the classics on parade, with few of the unnecessary peculiarities that define real human beings! We've seen them all before, and in more realistic guise. These one-dimensional characters function with the monomania of gears in a machine, churning out a largely predictable plot. This is typical of allegorical stories, and I suspect this story can be read as allegory (which is not surprising, since it is based on a Stephen King tale). Regardless, I can honestly say not one element of the plot caught me by surprise.

In all, the film seems to hover in tone and content somewhere between reality and the idealized world of the fable (say, a fable like The Green Mile, a movie by the same director). Many of the story elements seemed in one way or another contrived, which left me feeling vaguely dissatisfied and manipulated. Even good devices -- such as the well-known tendency of prisoners to become programmed by prison life, resulting in problems when they return to society (a syndrome referred to in the film as becoming "institutionalized") -- lose some of their power through a rather heavy-handed treatment. However, the climax of the story (although predictable) was very well-constructed and quite effective.
Regarding the acting, Tim Robbins is fair, but hardly awe-inspiring. On the other hand, Morgan Freeman, one of my favorite actors, is a rare talent who is almost certain to turn in a superb performance. This movie is no exception, and I believe if viewers think about it, they will realize that the strongest, most eloquent and moving portion of the movie is the last half hour in which his character, Red, is the focus of attention. The extended denouement almost saved the film for me, but for this viewer the movie reached its end with only a hint of the title's promised redemption.
For those of you who want to see a prison movie that is deeper, more profound, has better dialogue, plotting, and symbolism; and presents characters in now familiar roles (your assignment, compare and contrast!) but with considerably more substance and reality, check out Cool Hand Luke. It may not spell out what it's all supposed to mean in Shawshank's user-friendly, large-print narration, but it is nonetheless in all respects the superior movie.