Verurteilt

Broderick Crawford, (George Knowland) plays the role of a District Attorney and has to bring to justice a man named Joe Hufford, (Glenn Ford) who was drunk and struck a man in a night club and killed him. George Knowland knew that Joe Hufford was a good man who had an excellent military service record and told Joe he should obtain a good lawyer to represent him in a court of law. However, Joe did not obtain a good lawyer and he had to serve one to ten years as a prison sentence. Years go by and eventually George Knowland becomes the Warden of the prison where Joe Hufford is serving his prison sentence. George Knowland shows some mercy to Joe along with his daughter, Kay Knowland, ( Dorothy Malone ) who starts to fall in love with Joe. There is plenty of problems in this prison and lots of surprises. Great 1950 Classic to view and enjoy.

Glenn Ford is "Convicted" in this 1950 film that also stars Broderick Crawford, Dorothy Malone, Frank Faylen, Ed Begley, Carl Benton Reid, Will Geer, and Millard Mitchell.

Ford plays Joe Hufford, a war veteran who gets into a bar fight in which a man is killed. Though the DA, Knowland (Crawford) takes pity on him and wishes he had a better attorney, Hufford is sentenced from 1-10 years. Ultimately it's decided he'll serve 5 years, and come up for parole in 3.

He's desperate to see his elderly father again, so when some of the other prisoners plan a break, Joe begs to be part of it. Just before his parole hearing, he receives a telegram that his father died. When a guard yells at him for not doing his work in the laundry room, Hufford punches him and winds up in solitary.

He misses the escape, which ends up in death for the escapees. Ponti (Faylen) is the snitch who tipped off the guards.

When Hufford is released from solitary, there's a new warden - Knowland, the sympathetic DA. He makes Hufford a trustee, chauffeuring his daughter (Malone).

When Ponti is killed, Hufford is in the warden's office, but won't reveal who did it, causing him to lose his trustee status and threatening his parole.

There's good acting throughout, and a sympathetic portrayal by Ford in this film, which moves quickly. Crawford is excellent as a tough but fair warden.

Among the prisoners, veteran actor Faylen, who did such a terrific job as Dobie Gillis' father, does a bang-up job here in a dramatic, showy role. Everyone, though, is very good.

As an actor, boyish Glenn Ford didn't have much range, but he was so likable and attractive, it never mattered. His performances are always natural and underplayed, more on the style of today's actors. However, he was much more of a presence than many working today.

Good film.

A remake of Howard Hawks' 1931 The Criminal Code, Convicted serves up Glenn Ford as an average Joe sent up the river for accidentally causing the death of a man in a night-club brawl. Even the district attorney who prosecuted him (Broderick Crawford) finds his crime pardonable, but a bungled defense sent him to the big house. Parole should come early, but members of the board are cronies of the dead man's father, a prominent citizen, so Ford's in for five years.

In stir, Ford grows embittered and embraces the curious codes of the cell block. He tries to eschew the obvious dangers of a Draconian guard (Carl Benton Reid) and the obligatory stoolie (Frank Faylen, most vividly remembered as the sinister male nurse in the alcoholic ward of The Lost Weekend). But prison life is grinding him down and he decides to join in a break out. But he ends up in solitary after assaulting a guard minutes after learning his father has died, so escapes the destiny of his comrades, who are slaughtered..

Next, a change of regime: the new warden is none other than good-hearted Crawford, and with newfound liberties as a trusty he grows sweet on Crawford's daughter (Dorothy Malone). But the skies have not yet cleared, because there's a movement to kill Faylen for causing the deaths of the men involved in the prison break....

While not so truculent a prison drama as Brute Force, three years earlier, the more staid Convicted develops with cumulative power. Burnett Guffey photographs the decrepit squalor of the prison with loving revulsion. The script, too, is well written (if lacking the edge of the same year's Caged, set in a women's penitentiary), with a streak of gallows humor shot through it – the warden counts among his household staff a cook who poisoned his wife and a barber who slit a man's throat. The story gets driven by character, as well, and the characters are sharply acted: Millard Mitchell, as Ford's cellmate, and Faylen are especially memorable.

Ford, on the other hand, plays the masochist a little too readily, a point that would not be so finely drawn if it didn't parallel so many of his other roles in the noir cycle. As a result, that quintessential bull-in-a-china shop, Crawford, upstages him scene after scene. Despite a wrap-up that's a bit too sunny to swallow, Convicted holds an honorable place in the long line of movies that have peered into the national psychosis we like to refer to as rehabilitation.

Broderick Crawford plays a district attorney that reluctantly prosecutes a defendant for accidentally killing a man in a fist fight in defense of a lady's honor. Realizing that Ford was being severely under-defended by his own lawyer, Crawford tries to pass every break in the book to the defense attorney, who's too stupid to pick up on it. In the end, Ford is convicted of murder and sentenced to prison. Later, Crawford is assigned as the new warden and attempts to help Ford further.

This is a very good, highly underrated movie. It's worth a look.

A much underrated prison picture starring Glenn Ford and Broderick Crawford, Convicted moves quickly, has some excellent dialogue, and is chock full of great character actors (Frank Faylen, Millard Mitchell, Whit Bissell). Ford doesn't belong in prison and compassionate warden Crawford seeks to help him out. Everything comes together nicely in this film, which has some fine dark-edged photography and a dingier than usual looking prison. Director Henry Levin handles his material as well as a Wellman or a Keighley would have done, and was somewhat of an enigma, capable of making both dreadful and very good films; his work here however is very sure.