A Locked-down Life (Press, 20 December 1989)

Greg Newbold, a sociology lecturer at the University of Canterbury, critiques the film "Ghosts of the Civil Dead," which is about a futuristic Australian prison. Set to open on 22 December 1989, the film offers a promising exploration of prison life but falls short in its realism. Newbold, who has over five years of experience in various New Zealand prisons and has authored two books on the subject, draws parallels between the film's setting and actual prison experiences. He begins with a historical perspective by referencing the closure of Alcatraz in 1963 and the subsequent establishment of Marion, Illinois, a high-security prison known for its strict control measures, such as closed-circuit television and heavily secured units. As prison design progressed throughout the 1960s, there was a shift from punitive measures towards more rehabilitative approaches. New Zealand monitored these developments closely, leading to the opening of Paremoremo Prison in 1968, which mirrored Marion's design. However, both institutions eventually faced issues of violence and rising gang activity, resulting in lockdowns and increasingly severe restrictions on inmates. Newbold points out that while "Ghosts of the Civil Dead" was marketed as a significant cinematic portrayal of prison life, it fails to capture the essence of real prisons, particularly in its portrayal of inmate dynamics and authenticity. The film depicts Central Industrial Prison, a super-maximum facility, through advanced design resembling a luxury motel, but Newbold criticises its portrayal of characters and interactions within this environment. The protagonist, Wenzil, does not fit the hardened profiles typical of those occupying such institutions. He appears inexperienced and naïve, failing to accurately reflect the hardened realities of prison life. Newbold notes significant flaws in character development and interactions, suggesting it lacks the tight, controlled social environment characteristic of prisons. Many scenes seem unrelated and fail to build a cohesive storyline, leading the viewer to a vague and unfocused narrative. Various moments that could evoke powerful imagery instead feel disconnected and superficial. In conclusion, while the film received acclaim from some critics, Newbold argues that it does not provide an authentic representation of prison life and ultimately serves as a misguided portrayal by filmmakers who lack a grounded understanding of the realities of incarceration. He recommends that viewers might prefer to create their own narratives rather than rely on the unrealistic depiction of "Ghosts of the Civil Dead."

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