From an early scene where a strung-out-on-smack Copan lovingly eyes the edgy Decker as a gay band entertain the inmates, the older man’s desire for the beautiful youth is tangible. At one point he admits he probably wouldn’t be helping out if the boy were ugly, but that ‘that’ is his problem. He seems to almost love Decker too much to take it any further. That and the knowledge that his reputation as a hard man would be shattered if his true feelings became known. But despite faux gangbangs, and stolen glances in the shower, Copan’s affection for the boy transcends sex and remains, occasionally frustratingly, ambiguous. This restraint is beautifully played against the relationship between Decker and his cell mate, Jan (Mickey Rourke, practically unrecognisable, in his best form in years), the gloriously gentle and dreamy transvestite, who keeps up his spirit amidst fantasies about visiting Paris, or being reincarnated as the girl next door. Despite Jan making no bones about his desire for Decker, the viewer knows, despite Decker’s doubts, that he is just a gentle old tranny who is glad to have something beautiful around such an ugly environment. For this reason, it is only in the scenes between Decker and Jan where there is no sense of the menace that permeates the rest of the film. We feel safe when Jan is around, even if he does make Decker edgy!

Ed Bunker, whose novel, ‘Animal Factory’ the film is based on has a fine pedigree in this genre. Former resident of the FBI’s most wanted list, Bunker is now one of the US’s most respected crime writers, forging out a reputation for hard, earthy, fiction that draws favourable comparisons with Elmore Leonard. His role in Tarantino’s ‘Reservoir Dogs’ helped assure his current cult status.

Director and co-producer, Steve Buscemi, never fails to impress with his pared, sensitive direction. The film avoids the easy melodrama of its most obvious comparison, ‘The Shawshank Redemption’ and thus manages never to fall into prison/mentor drama cliché. Instead, it focuses on the finer aspects of masculinity, gender, friendship and love.

The casting is exemplary. Edward Furlong’s beautiful boyish face conveys a perfect mix of innocence and dark-eyed dissipation. Dafoe, surely one of the versatile actors in the US today, gives a quietly threatening but enticing performance as the long-timer, Copan, which is so utterly convincing it is hard to think of any other actor who could have carried the role off quite so effectively. A talent like Dafoe’s can hide in a corner but still fill a whole screen. He is quite simply awesome. Roseanne’s ex, Tom Arnold (as the aptly named, Buck Rowan) is perfectly slimy as the predatory white trash paedo who has taken an unsavoury shine to the boy. The scene where he licks his finger, before ramming it up young Decker’s arse really makes the flesh crawl. Amidst all this heady onscreen talent though, it is Mickey Rourke’s aforementioned performance as tranny cellmate, Jan that really lingers. Please, can casting directors take note of this tour de force (his best role since his early glory in ‘Rumblefish’ and ‘Body Heat) and allow him back into mainstream cinema with some suitably meaty roles.

A refreshingly intelligent twist on the prison drama genre, and a tribute to Buscemi, whose inherent respect amongst the seasoned cast led them to get involved on minimum pay, the shoot lasting a mere 29 days. No wonder Hollywood’s finest are queuing up to work with this unique and insightful director/actor.

Laura Hird is the Orange and Whitbread nominated author of the collection, ‘Nail and Other Stories’ and novel, ‘Born Free.’ Her short stories have been published in numerous magazines and anthologies internationally. Her new collection of short stories is due to be published by Canongate Books in May 2005. She runs and edits her own loosely arts-related website on which she seeks out and publishes new poetry, short stories, reviews, interviews etc. She was born and lives in Edinburgh.

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© 2004 Laura Hird All rights reserved.