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For reasons I cannot fathom, this film sometimes ends up on lists of the worst movies of all time; this despite Oscar nominations for Eleanor Parker and Hope Emerson. It has some of the best acting performances around, runs the gamut on "stock" characters, but well done and great black & white filming and lighting. It's terrifically engaging and one quickly gets wrapped up with the characters, some of whom are morally ambiguous and some of whom are just evil, and how they choose to cope in unbearable circumstances. It's a great movie and deserving of a lot more credit than it's gotten in the past. 10/10.

I saw this movie in Hollywood as part of the annual film noir festival at the American Cinematheque. This film has lost none of its ability to move an audience. Not only is it a good prison drama, but it is a good example of film noir moviemaking as well.

It was a bit of daring to show how corrupt the prison system can be and "inmates decaying" as one character put it.The lead character (Eleanor Parker) goes from being an innocent to becoming as hard as anyone else in the prison system due to the efforts of her matron and chief tormentor (Hope Emerson). It is because of this transformation that the film goes from being a routine prison drama to a first-rate noir thriller.

Jan Sterling, who plays "Smoochie" in the film, was at the screening and spoke afterward. She said director John Cromwell (father of character actor James Cromwell) did a great job of making you feel like you were in prison. She said by the end of the shoot, the performers felt like they were really confined. Parker, Emerson and the script by Virginia Kellogg and Bernard C. Schoenfeld were nominated for Oscars.

This film, of the genre, women in prison, or incarcerated.... is the best.. I cant understand why its not available on VHS or DVD !!!?? Brilliant performances by Eleanor Parker, Agnes Moorehead, and especially, Hope Emerson, as the prison matron... were all outstanding!! Parker & Emerson were Oscar nominated, and in a year (1950) which gave us, "All About Eve" , "Sunset Blvd", and others, that was no easy feat!!...Parkers beauty and innocence gave the film its sensitivity & vulnerability... Moorehead was also outstanding (as always) but Emerson defined the role of prison matron.. forever!!.wow what a monster....!!! what a performance.. !!watch for the lesbian moments as Emerson attempts to control the "girls" esp. Parker.. Nice moments by Gertrude Hoffmann (later Mrs Odettes in TVs "My Little Margie",) as the older inmate.... and the entire cast... a gem... dont miss.... and please reissue on video......

This movie is probably the best example of the "women in prison" genre. It's a delightful combination of noir, camp and drama. Eleanor Parker gives an excellent performance. Her slow transformation from a naive young woman to a hardened prisoner was fascinating and very realistic. This is especially evident at the end of the film when there is the photographic comparison between her character when she enters prison to when she leaves. I also like that the film does not end on a positive note. It ends bittersweet. On one hand, it's good that she's out, on the other hand, you know that Agnes Moorehead's character has correctly predicted Parker's destiny.

Moorehead's prison superintendent character was excellent and is what keeps the film from being over the top. She remains the calm, collected heart of the movie. She's a nice contrast from Hope Emerson's bonkers matron. If Moorehead and Emerson's respective characters had both been over the top nasty, then this film would have definitely been more campy. Likewise, if both characters had been like Moorehead's, then the film would be unrealistic. Emerson's matron was so delightfully horrid that you actually cheer for the Kitty Stark character in the dramatic cafeteria scene.

Lee Patrick is such a fantastic character actress and she can play so many different types of characters very well. What's delightful about many of her characterizations is that no matter how refined her character appears on the outside, there's always a layer of trashiness. The possible exception to this from the films of hers I've seen is The Maltese Falcon. In this film, she's known as "The Vice Queen" who runs a shoplifting syndicate and ends up having to serve a short sentence in the prison.

Ladies They Talk About is another favorite women in prison film of mine, but it is more of a country club prison than the one Eleanor Parker ends up in.

No need to repeat the plot.

Catch that long tracking shot of Harper (Emerson) taking inmate attendance one-by-one. It goes on much longer than expected as each inmate gets a brief moment on screen. Importantly, we see that each is a perfectly ordinary looking woman far from the usual Hollywood glamour type. I single out this minor scene because it's director Cromwell's way of showing the film's serious intent despite all the gripping melodramatics.

What the movie does so effectively is combine first-rate melodramatics with a powerful case for liberal reform. That's because, despite its mission, the prison amounts to a breeding ground of criminality. For example, nineteen-year old Marie (Parker)"flops" in as a wide-eyed innocent but leaves as a hardened criminal; guard Harper's sadism and influence-peddling flourishes; day-to-day routines strip inmates of self-respect; the medical dispensary remains under-funded and filthy; while the entire package is held together by state politics, skimpy budgets, and behind the scenes string-pulling. Apparently screenwriter Kellogg researched her subject, so likely the subtext mirrors much of the reality of the time.

Understandably, this message part is over-shadowed by some of the strongest and most unusual dramatic acting of the period. Seldom has any film featured as many mannish women as this one, and at a time when feminine stereotypes not only prevailed but excluded all else. The producers went out on a limb with this one. But it paid off with two memorable performances-- Emerson's shambling gait and slow-motion cruelty, along with queen-bee Garde's sudden descent into hollow-eyed dementia. The results here are both exotic and unforgettable.

One scene has stayed with me over the years. Marie expects some relief as lights go out on her first night in prison. But then the real horror starts. All the pent-up emotions and adjustments of the day come tumbling out—the crying, the coughing, an animal scream. Marie hunkers down in the sheets, wide-eyed awake. Now she knows. There is no relief. Not even in the dark. The prison nightmare never ends.

This is one of the daring gems of the noir period before the Cold War retreat of the 1950's. Thanks to a powerful convergence of movie-making, the movie's as riveting now as it was then. Don't miss it.