Sunday, February 21, 2016

We Watch Forever

They had a party at our prison last night and they thought we couldn’t see.

This rotten stone hell where we walk in darkness forever is not as it was when I faced the hangman in 1932 or as it was when my companion in eternal misery met his end in the electric chair 27 years later. Both of us thought that death would free us from the horror and unforgiveable conditions of the West Virginia Penitentiary at Moundsville, West Virginia. We were wrong.

My name is Harry Powers. My companion inside these walls is Elmer Brunner.  I came to end in this madhouse of pain because I killed people, lots of people. I lured women, and sometimes their children, into my trap in a town called Quiet Dell with promises of romance and marriage. Instead, I dispatched them to the next world, confiscated their money and belongings and dumped their remains in shallow graves. Elmer was far less sophisticated. He murdered an old woman in a botched home burglary in Huntington. His biggest mistake was using a claw hammer to do the deed and leaving it behind, bloodied and marked with his fingerprints.

I remember the cloudy cool morning of March 18, 1932 when they marched me up the scaffold, draped a hood over my head, placed the noose around my neck and dropped me through a trap door. I thought it would end my travails. Instead, I was still there and watched helplessly as the guards brought me down, a doctor proclaimed me dead and my body was stuffed in a bag and hauled away for burial in a nearby unmarked grave. But, I remained and have remained stuck inside these huge stone walls of silence and pain ever since that moment when the rope did its worst to my earthly shell.

Elmer has a similar story to tell but his end came in 1959 in a rugged wooden chair that was connected to an electrical power source. They gave him a 1,600-volt surge of power that killed his brain and a second that fried the rest of his internal organs. He recalls it vividly and now walks these grounds at my side silently watching all that happens here.

Elmer and I are not the only tortured souls that walk these grounds. In all, 94 men were executed here and many more were slaughtered by fellow inmates, killed themselves or died from disease or at the hands of ruthless guards. Like us, many of them remain, silent, undetected and tortured by an eternal sentence to walk these grounds and watch the odd behavior of the living who use our tomb for entertainment and amusement.

When they erected these massive stone walls in what they called the gothic style in the 1870s they put in turrets and battlements that made the prison look like a castle. I guess they wanted people to think they were safe from the evil men entombed inside.

Over the years, we watched prisoners defeat internal locks and wander freely to torture, abuse and kill each other.

We watched them gamble, fight and rape in the “Sugar Shack,” the underground room where most people now fear to even enter.

We watched the state cram 2,000 prisoners into a prison built for half that number in the 1960s and all the suffering and violence that resulted.

We watched 15 prisoners escape in 1979 and kill an off duty state trooper on the street outside in the process.

We watched them riot in 1986, kill three of their own and get the state’s governor to come in to negotiate.

By 1995 they finally moved all the living prisoners out and we had little to watch.

We were astonished when they began to use these rotting old halls and cells to train cops and guards about how to handle prison riots after the living prisoners were moved out. They came in with all their modern weapons and tactics and practiced how to subdue make believe rioters who were hired to play the rolls of evil men.

More astonishing still to us was when they began to give children tours of our prison. Now, they use the sites of our misery as a Halloween joke and laugh with glee when they pretend to lock each other in our old wretched tiny cells.

Through all that, we watched—and, we watch still.

Last night, hundreds of people came in through the old North Gate where our earthy remains were once removed from the prison for burial. They came in for a massive alcohol infused party that they called a steak fry.

As moonlight reflected off razor wire atop fences inside the weathered stone walls, they rolled massive charcoal grills into our old prison yard.  People grilled thick juicy steaks by the glow of flashlights where men once traded cigarettes for simple comforts.

Odd loud music erupted from the big open building they built in the later years of the prison as a cafeteria and then modified to be a teaching facility and party room for hire. 

There were kegs of beer set up where men used to be fed slop on metal trays.

Intoxicated young people danced and sang with their arms in the air and their voices raised in song where men were once humiliated and abused.

And we watched.

The people we watch will never know the terror, fear, and death that once dominated these grounds. It is all locked away in little-studied public records and in the fading memories of the few men who survived this particular brand of hell. But it also survives among those of us who wander this site undetected, unremembered and unknown forever.


Monday, February 8, 2016

In the Tradition of "See Something, Say Something": Avoid this Movie





I fully realize that the 21st Century bywords “see something say something” pertain to something quite more serious than movies. But, I was witness to something so horrendous over the weekend that I feel compelled to “say something” as a warning to unsuspecting Coen Brothers movies fans everywhere. Here it is: “Avoid at all costs the train wreck of a movie now playing in theaters called “Hail Caesar.”'

I am an unashamed fan of Joel and Ethan Coen’s writing and directorial work. “O Brother Where Art Thou?”; “Raising Arizona”; “Miller’s Crossing”; and the remake of “True Grit” are truly among my favorite movies of all times. Their writing credits for other major films like Angelina Jolie’s “Unbroken” and Steven Spielberg’s “Bridge of Spies” have also left an unforgettable mark on fine movie making. How then, can the mess of “Hail, Caesar!” be explained?

Ever since coming across the first trailer for the film months ago, I awaited the release date of the movie with excitement and anticipation. The previews and even a few early reviews of the film I discovered described another spectacular movie exercise in comedy along the lines of my favorite, “O Brother.” The cast was promising: George Clooney, Josh Brolin, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand and Channing Tatum among others including another personal favorite in a bit role, Wayne Knight—Newman of the old Seinfeld show. The trailers showed edited glimpses of slapstick genius and described a plot line that never materialized in the actual movie.

Only two vaguely humorous things occurred in the 100 minutes that my family and I were held captive in our local theater for a viewing of “Caesar.” The first was a bit at the beginning in which Wayne Knight appears as one of two hapless kidnappers out to bag movie star Clooney. Knight remains a gifted physical comedian given something to work with. The Coens would have done well to keep him involved with the rest of the movie.  The second almost funny bit concerned a roundtable discussion involving a rabbi, a protestant preacher, a Catholic priest, and a Greek Orthodox priest assembled by a movie studio exec to discuss and approve a movie’s depiction of Jesus Christ. After six or seven minutes of banter reflecting each man’s refusal to accept the religious tenants of the others, it wrapped with one holy man telling the studio executive: “Eh. I’ve seen worse.”

Too bad I can't say the same about this mess. From that point on the laughs were over.

The trailers described the plot like this: Somebody kidnapped a 1950s era mega movie star played by Clooney right in the middle of the filming of a new studio epic called “Hail, Caesar!” and only Hollywood’s biggest starts can find him. We helpless movie goers thought we were in for a slapstick unleashing of 1950s stereotypical movie stars for a funny search for Clooney’s character. Forget it. It never happened. Instead we got boring communist intellectual discussions by a band of blacklisted writers, a feeble minded Clooney struggling to comprehend, and a sprinkling of Coen versions of Hollywood stars who never actually got involved in the hunt for the kidnapped actor (except for a stooge-like cowboy actor who stumbles in on the plot).

The Coens wasted Hill, Johansson and others with only passing relevance to the action in dead-end unfunny subplots. They seemed to just be making up parts for their pals including Coen spouse Frances McDormand. There is a bit in the middle with Channing Tatum dancing with sailors that was a surprising change of pace for the action star and wasn’t horrible to sit through. The film sank lower and lower from there.

I was also offended that the editing done for the trailers did not reflect what eventually happened in the movie. The trailers were funny. Executed in the full film, they lost their edge and didn’t even elicit a chuckle. As a result, the only things funny about “Caesar” appeared in the TV commercials. Just one more reason movie goers should save their money.

I know, I know, film critics out there have been quick to tell we unwashed and uncouth folks in the hinterland that this is a Hollywood spoof that uses the awfulness of the 1950s movies portrayed in “Hail, Caesar” to make a point that the studio system was breaking down and the cold war and the red scare were influencing the way movies were made and presented. Okay. Sure. That’s probably all true but for goodness sakes, don’t wrap this in the mantle of comedy, put the Coen brand on it to make us think it is going to be good, then torture us with 100 minutes of pure drivel that, if it doesn’t ruin that tested Coen brand, sure tarnished it.

Apparently, I wasn’t alone in looking forward to this film. It was projected to earn between $9-11 million in its opening weekend. It made $543,000 during its Thursday night previews and $4.3 million on its first day. It grossed $11.4 million in its entire opening weekend finished second behind “Kung Fu Panda 3.” I will be keeping a close watch to see if and how much earnings plunge after word of mouth sinks a knife into this Caesar’s chest like Brutus in a bad mood.

Sitting through this mess was almost enough to put me off going to movies for a while. I usually don’t write movie reviews. I may never write one again. And, I will be more than cautious the next time a Coen Brothers movie comes to town.  But this time, I saw something and I had to say something.