Criminology Files : #4 - Issues in Criminology 3: Media and the International Response to Crime

The fourth edition really only deals with media and crime as the 'international' segment did not form part of the assignment (nonetheless, the full name of the credit is always put down in the title). This was probably my favourite assignment as it involved watching a crime film and writing a personal criticism on it incorporating iconography and conventions into the work. The film analysed below is The Green Mile.

This edition is likely to appeal to those interested in : Movies, Crime films, Prison films, Execution films, Criminology and Religion (specifically religious imagery)

The entire series is posted as has been presented to the university, and no part has been altered or inserted after it's presentation.

The Green Mile, released in 1999, was directed by Frank Darabont (who also directed another crime film, The Shawshank Redemption) with the original story being authored by Stephen King. In this assignment I shall look at the icons and conventions present in prison films. Furthermore, I shall look at the way the director and production team of The Green Mile adapted and made use of these conventions in this film together with any divergences from the norm, especially considering that this film in particular deals with prisoners on death row as opposed to simple imprisonment.

Iconography

Most films, especially crime films, make use of icons to probe the audience into realising the type of film they are about to watch. Prison films are no exception. In other words, icons are physical objects/beings (i.e. something that can be touched) which are suggestive of the theme of the play (Jarvis, 2004). Naturally, the most obvious icon in a prison film would be that of a prison cell. This constant presence of this icon is what distinguishes a prison film from any other crime film. Other icons present include drugs and tattoos. In the case of the latter, they are often obscene and vulgar so as to demonstrate the criminal character of an inmate. Further icons include the prison uniforms (guards as well as inmates), poor food and hygiene (Rafter, 2000). Finally, some films also use a small animal which is adopted as a pet by a prisoner, who is generally more sympathetic than his fellow inmates (Gonthier, 2006).

However, execution films, such as The Green Mile, do not make use of as many icons and replace some of them with icons that are more representative of the theme. Drugs, for example, are omitted as prisoners on death row are not able to mix with other prisoners and drug use is virtually impossible. Looking specifically at The Green Mile, an icon which is added is the electric chair, Old Sparky, which is seen several times throughout the film, even when not being used such as when it is being cleaned. When threatening one of the guards, the protagonist pushed him against this same chair. This serves as a constant reminder that this is more of an execution film, than it is a prison film. On another note, the prison bars and clanking of the lock in the beginning of the film conforms to the prison film icon mentioned above.

The wardens use of uniform is present in the film but not in the case of the inmates. However, the director still includes the prison garment in the film through a sequence featuring prisoners who are not on death row, working on the prison grounds. The food in the film is never shown to be of poor quality. On the contrary, one prisoner is presented with Cornbread made especially by the protagonist’s wife (in fact, he would later request it as part of his last meal). Finally, a mouse, Mr. Jingles, is used to fill the place of a small animal in The Green Mile. In spite of being so small, he is the constant through whom we see the kindest and crudest characters reveal their true colours in terms of caring for him or attempting to kill him.

Conventions

This section of the assignment discusses the conventions in prison films. Conventions are abstract counterparts to icons. That is, they give the audience an idea about the type of film they are watching but do so through directorial techniques as opposed to props. Crime films, as a whole, frequently make use of flashbacks and close-ups to add dramatic effect to scenes. Similarly, montage is often used to show different events occurring at the same time, or a sequence of events leading up to the conclusion. Prison films generally include the arrival of a prisoner as one of the first scenes of the movie, either as a means of introducing the main character or so as to establish the setting for the movie (Crowther, 1989). In a typical prison film, one would be introduced to the wardens as if they were the villains due to their portrayal as sadistic and distant (O’Sullivan and Wilson, 2004). However, The Green Mile breaks away from these norms.

The first break from tradition is in the selection of the main character which, unlike other crime films, is the warden in charge of death row. Furthermore, four out of the five main wardens are compassionate and seem to genuinely care about their prisoners. However, the fifth warden is the sadistic character with good connections typical of prison films. The arrival of John Coffey satisfies the arrival convention, however he is not put through the disinfection process, probably because he is a death row inmate. Flashback, while still utilised, is used differently in The Green Mile. Firstly, the actual story is told in the form of a flashback. Following that, the audience is treated to flashbacks within the long, continuous flashback, which allow us to witness the back story and confirm the innocence of Coffey – assuming the audience had not already deduced this for themselves (King, 1996).

The film also points out the difference between the two time periods. In the present day scenes we see references to popular culture such as The Jerry Springer Show and modern commercials. However, in sequences taking place in 1935, we are constantly bombarded with songs and movies from the 30s, including shots of the radio used to play the songs. The film, Top Hat, starring Fred Astaire and Ginger Rogers is featured in both time periods and is used as a reason for the protagonist (Paul Edgecombe) to recall the events of 1935. We are later shown that this was the movie seen by Coffey before he died, with Top Hat having been a new release in 1935, hence the reaction by Edgecombe over sixty years later.

Additional Notes

In this segment I aim to analyse some of the recurring themes in The Green Mile. Being an execution film, an expected theme is that of life and death. As in the case of a significant number of crime films, death is seen through murder. However, The Green Mile goes a step further as the termination of life is also seen in the form of capital punishment. However, the more intriguing half of the partnership is that of life. In the film, the mouse is the only character to experience death followed by a return to life, courtesy of John Coffey’s abilities. A female character, on the brink of death is cured and given an opportunity to continue living, giving a new meaning to the term “kiss of life”. Finally, in the part of the movie set in 1999, the protagonist explains how both he and the mouse were given an extended life and he explains how he has been around long enough to see all his loved ones die. This theme, perhaps, is best explained by the following utterance by the protagonist:

“We each owe a death - there are no exceptions - but sometimes, oh God, the Green Mile seems so long.”

(King, 1996: Volume 6)

Another theme is that of good and evil. Several characters are referred to as being one of the two. Very often, this distinction is ironically made by John Coffey, the prisoner on death row. In fact, he acts as a judge and executioner in the case of the sadistic prison guard and a fellow sociopathic prisoner referring to them as “bad” men before ultimately disabling and killing them respectively. Later, just as he is being marched to his death, he refers to the four other guards (who had earlier risked their jobs to help the female character mentioned earlier) as “good” people. This is ironic as it is usually the prisoners who are judged and not the other way around. The Green Mile makes use of a significant deal of religious imagery.

The name John Coffey could immediately have been a reference to Jesus Christ. Indeed, Coffey is portrayed as a Christ-like figure, or at the very least Saint Peter, making judgements on other characters. The protagonist also refers to Coffey as a gift from God, just as Jesus was. Finally, Coffey’s abilities (raising the dead, healing and empathy) are reminiscent of the abilities depicted in the Bible; similarly Coffey’s execution resembles Jesus’ crucifixion, with the person on death row accepting his fate. The attitude of the executioner’s is evidently reflecting the attitude of the Roman Centurion who realised the mistake that was made in crucifying Jesus. Darabont makes it a point to reference prayer throughout the film, showing the procedure during the rehearsal while omitting it from the actual execution sequences.

In conclusion, The Green Mile makes use of a number of the conventions and icons generally present in prison films. Understandably, the there are less in number as The Green Mile focuses on execution rather than imprisonment. At the same time, the film is bold as it contains some aspects which are not typical of prison films – such as the protagonist being a prison warden. Hence, while conforming in some respects, the film also adds a touch of originality to the sub-genre.

This has been a Darryl, from Malta - Online presentation.