In “Film as Art and Psychology: Cool Hand Luke as Exemplar," Frank Barron employs a metaphorical comparison between religion and movies to claim that Cool Hand Luke is “about the Passion and Death and Resurrection of Jesus Christ” (102). He substantiates his claim with in-depth mise-en- scène analysis, which does make Barron’s argument convincing, but to a certain extent. Barron highlights how Lucas Jackson’s figure movement and expressions symbolize that of Jesus Christ. For example, when he says “Luke is [seen] repeatedly stretching his arms akimbo, spread-eagled so that his body is like a cross” (102) after doing the unthinkable, eating fifty eggs. I do agree with Barron that Luke’s actions signify that of Christ; however the author focuses
