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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.

Joe Hufford is an honest and affable man, but during an altercation in a bar he punches out a man who sadly dies from banging his head on the floor. All and sundry realise that this is a tragic accident, including the prosecuting DA who tries to feed the inept defence lawyer ammunition in which to keep Hufford out of jail. Found guilty, Joe is sentenced to one to ten years in the pen, working hard and buoyed by the support of his fragile father on the outside, Joe gets about doing his time and hoping for parole. However, bad news comes his way and pretty soon Joe's term in jail will turn bitter - can the new warden and his pretty daughter be his salvation?

Incarceration based films is a favourite genre of mine, so you can imagine how delighted I am when I happen upon a first time viewing. When the said film turns out to be a positive delight, well I'm in incarceration heaven! Convicted, directed by Henry Levin, adapted by William Bowers from Martin Flavin's play, and starring Glenn Ford, Broderick Crawford, Millard Mitchell and Dorothy Malone (Ed Begley has a cameo), is not so much underrated I feel, more like under seen and sadly forgotten.

One of the erstwhile reviewers on IMDb has suggested that this picture offers nothing new and that we have seen it all before! Really? In 1950? Are you sure? Truth is, that in spite of this being an update of Flavin's own 1931 piece, The Criminal Code, is that yes! this film now looks like standard formula - an unlucky prisoner is forced to join the convict code of ethics, the yellow snake in the grass, tough guards, the planned break outs, the crusty old lag destined to enact revenge for injustice, but arguably few prison based pictures from the black and white era are as tight and as enjoyable as this one. It boasts a wonderfully reined in performance from Glenn Ford as Hufford, with the first quarter - where Hufford is struck by the incredulity of his situation - is particularly memorable stuff from Ford. Then we also get a special effort from Crawford as DA/Warden Knowland, one scene as he fearlessly walks amongst the cons is a genre highlight to me. But both these men are in the shadow of a quite grizzled and effective turn from Millard Mitchell as Malloby, so much so it quickly became one of my favourite bitter lag performances.

It's not without failings, the love interest is misplaced and clearly improbable in practicality (though it should be noted that Dorothy Malone is fine here as Kay Knowland), and the finale blows out the basis for "solitary" confinement completely. But really to me these are minor quibbles for a 1950 prison based picture. Steadily directed and acted with skill, it also benefits from the considerable talents of Burnett Guffey in the photography department. All in all it's a fine picture that I highly recommend to genre hound dogs such as myself. You can probably knock off a point for my obvious bias, but I'm definitely giving this one 8/10.

Excellent "prison" movie , with several extremely suspenseful scene,particulary the death of convict (informer) Ponti (Frank Feylen ) in a terrifying atmosphere ,with the crowd of cons "yammering" and this clock (featured in almost all the shots of the scene) the hands of which seem stopped on 1:25.

In its first part,it's pure film noir,devoid of sentimentality: one is spared the trial with the interminable pleas (it lasts barely one minute) ,and the scene of the telegram avoids pathos and melodrama.

But the most interesting thing in the rapport con Joe has with his ex-prosecutor turned jail director :"I was your prosecutor, I won't be your persecutor ";as the movie progresses,their relationship almost becomes a father/son one ; and one can go as far as to say that he suffers as much as him when he sends him to the solitary ;Knowland can't refrain from admiring -in spite of his disapproval- his protégé's honor code .Glenn Ford and Broderick Crawford ,sparing of gestures and words ,are extremely convincing. Knowland's daughter is a more conventional character, but Dorothy Malone (who would shine in Sirk's movies) makes all her scenes count .

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.

This is your no-frills prison yarn of a man convicted for involuntary manslaughter. The chief asset of this film is the cast, which is led by the highly competent Broderick Crawford and the talented Glenn Ford. The supporting cast does a great job as well. The filming is stark and realistic. Crawford does some of his best work in this film and Ford is very convincing as the tough luck convict trying to stay straight. Worth viewing.

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.

The more I see of GLENN FORD, the more I appreciate the range of his underrated talent. CONVICTED is a low-budget crime melodrama from Columbia that co-stars BRODERICK CRAWFORD with DOROTHY MALONE and ED BEGLEY in supporting roles.

Ford is a victim of circumstance, landing in prison after slugging a man at a nightclub who insults the woman he's dancing with. The man dies and Ford is sent to prison for five years.

Crawford becomes the prison's new warden and soon discovers that things aren't being run the way he approves of. It's nice to see Crawford in a sympathetic role as the warden who takes an interest in Ford's prison record and attempts to help him. He asks daughter Dorothy Malone to treat him respectfully when he assigns him to be her chauffeur.

The dialog is terse and full of wisecracks and Henry Levin's direction is taut with suspense. There's the usual prison breaks, the prison snitch (FRANK FAYLEN), and suspense building with the usual twists and turns as a prison break is imminent and the snitch is about to get his comeuppance.

Summing up: Good dialog and tense situations make this a better than average prison drama. Broderick Crawford is especially strong as the good-hearted warden and Ford is more than competent as the wrongly accused inmate.

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.

Joe Hufford (Glenn Ford) gets sent to prison after a bar fight results in a death. His attorney is inexperienced in criminal law. Prosecutor George Knowland tries to help to no avail. The sentence grows more excessive. When Knowland becomes the warden, he again tries to help by taking on Joe as his driver.

The movie should start with the bar fight. It needs to show his relative innocence so that the audience can come to the same conclusion as the prosecutor. Glenn Ford is playing him a little too tough at the start. He should have a more pronounced character arc. This role may be better with a fresh faced matinee idol. It's a 50's prison drama and it's fine. It's not breaking down any walls and it's not shocking anyone with its prison scenes.

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.

Glenn Ford stars in this 1950 film about a man sentenced to 1 - 10 years in prison (he killed a man in a bar fight & is charged w/manslaughter) but due to his never having committed any serious previous offenses, the prosecutor & later warden of the jail, played by Broderick Crawford, takes a stern but kind liking to him as he elevates him from nameless con to trustee as he becomes a chauffeur for him & his daughter, played by Dorothy Malone, who of course takes a liking to him. The conflict occurs when a stoolie rats out members of an attempted escape (Ford was approached to join in but he refused) which results in them being killed. The rat is nervous that he'll be killed in retaliation & when he is, Ford happens to walk in on the killer's departure (he's a friend of Ford's so he stays mum) prompting Crawford to put the screws to Ford (putting him in solitary confinement even) so he'll id the doer setting up the film's last section where the rat's killer holds a guard hostage & Crawford has to talk him down. Some social messaging gets through the straight forward prison yarn (the cruel treatment by the guards is quite vivid, Crawford's attempts to instill in his prisoners a sense of self worth) which elevates this film above like minded tales. Also starring Ed Begley as a parole panel member, Will Geer (from The Waltons) as a fellow prisoner & Whit Bissell as an attorney.

Fresh from his Oscar in 'All the King's Men' Broderick Crawford stepped into Walter Huston's role in version Number Three of 'The Criminal Code', photographed by Burnett Guffey (who had worked with Crawford on 'All the King's Men' and later collected the second of two Oscars for his work on 'Bonnie and Clyde'). In places it recalls 'Each Dawn I Die' and the prison scenes in 'White Heat'; and even includes a scene as in the latter where the hero loses it upon receiving bad news in the slammer.

As usual for the period it's enlivened by it's supporting cast, this time including Millard Mitchell in the role played twenty years earlier by Boris Karloff, a relatively young Ed Begley, Will Geer (the latter soon blacklisted) and Whit Bissell, who since 'Brute Force' had moved to the other side of the prison bars and would do so again along with squealer Frank Faylen in 'Riot in Cell Block 11'.

The presence of a brunette Dorothy Malone as Crawford's demure young daughter makes you realise just how long ago this all was...

The trials and tribulations of a man sentenced to five years for an accidental murder from a mild fist fight. Very middle-of-the-road, routine prison drama, watchable but brings nothing new or exciting to the table. Despite having Burnett Guffey behind the camera, the photography is nothing special at all. However, it does feature an array of good performances. Glenn Ford is sort of dull (as usual) and once again Dorothy Malone is underutilized. But Broderick Crawford is almost always a blast to watch, even when playing an absurdly liberal warden (I know prisons sometimes have trustees, but allowing one to freely drive your daughter around the city, completely unsupervised?). And a lot of the great character actors show up, many of them classic noir faces: Whit Bissell, Ed Begley, Frank Faylen and especially Millard Mitchell.

In the wake of Broderick Crawford's Oscar for All the King's Men, Columbia Pictures was having difficulty in finding properties for him. It was decided to team him with Columbia reliable leading man work horse Glenn Ford in a remake of The Criminal Code.

Convicted since it is remake can't really be blamed for having a lot of cliché in the dialog and plot situations. Just about every prison film deals with the same issues. Since Hollywood dropped the Code, prison films deal far more graphically than before. Still watching Convicted, you get the feeling you've seen it all before and there's nothing really fresh in this film.

Glenn Ford kills a man in a nightclub fight. A good lawyer could probably have gotten him off as District Attorney Broderick Crawford tells Ford. Ford unfortunately got pompous Roland Winters who's bag wasn't criminal law. Ford gets a 1 to 10 year sentence.

Wouldn't you know it, DA Crawford is appointed the new warden of the prison where Ford is. Since he's living on the grounds his daughter Dorothy Malone moves in with him. Ford by now is a trustee and acts as the warden's chauffeur. But he's still a con, a fact he never forgets and nearly costs him his parole.

Dorothy Malone for the first dozen years or so of her career played roles just like this one, good dutiful wives and daughters. No hint of that woman's talent until her Oscar for Written on the Wind.

Millard Mitchell and Will Geer are Ford's cellmates and both do a good job. But the best acting in Convicted without a doubt is Frank Faylen as the prison stoolie.

Convicted is not a bad film, but there's nothing real special about it in the careers of any of its principal players.

why the district attorney had a soft spot for this specific young man who accidentally hit a man and caused him death? why the district attorney's daughter also had a soft spot for this guy from the very beginning? why this district attorney then became the warden where this young guy was jailed? in nowadays reality, how it possible those arrangements by the new warden could favor to certain prisoners? and how convenient that the district attorney's and then the warden's daughter, an unique beautiful woman would never have a sweetheart or even got married but remained a spinster who only seemed to love the convicted man so subtly albeit so obviously? do you think that a strong-willed district attorney would have encouraged his daughter to befriend a convict felon wholeheartedly from the very beginning? well, unless his daughter was an ugly woman or a crippled woman then this could have been possible, other than that, a normal law enforcer father would never have his beautiful daughter to be near to a convicted fellow. then again, once became a warden, suddenly his home would be in or close to the prison? and he would have the privilege to allow several prisoners to be at his personal service? givemeabreak, will you? this film is just an utopia- like, completely cosmetically beautified picture to show an unrealistic and totally unlikely scenario to suit the purpose of this film. the whole screenplay was like a mirage, if you could believe it, you could believe anything is possible and a carpenter's son could walk on water other than that British street magician, dynamo.

Hollywood has traditionally excelled in films set in penitentiaries and journeyman director Henry Levin has done a pretty good job here with Columbia's third version of Martin Flavin's 'The Criminal Code', aided by a strong cast, Burnett Guffey's monochrome cinematography and the pacing by Al Clark, one of Columbia's longest serving editors. Both Guffey and Clark had earlier worked on 'All the King's Men' which had catapulted Broderick Crawford to 'A' status and here Crawford once again dominates proceedings with his compelling presence. First billing however goes to Glenn Ford, an immensely popular and much-loved actor, not least among his leading ladies it seems, whose engaging persona is used to great effect as the hapless victim of a miscarriage of justice.

As one would expect from a prison drama there is the customary assortment of disreputable but colourful characters, notably those played by Millard Mitchell and Will Geer whilst Frank Faylen is the requisite stoolie and Carl Benton Reid is unusually cast as a far from sympathetic chief warden.

This may lack the simmering tension of Dassin's 'Brute Force' and Siegel's 'Riot in Cell Block 11' but sustains one's interest and there is an especially powerful scene where newly-appointed prison governor Crawford confronts a horde of angry inmates. The ending, for this viewer at any rate, is somewhat unsatisfactory but certainly fulfils the moral requirements of the time.

"Convicted" is based on the Broadway play "The Criminal Code", and was to be the third film adaptation of that play. It starts out as a crime drama about a young WW2 veteran named Hufford - 'decorated on Okinawa' - who is arrested for the manslaughter of a man he had an argument with over a woman at a club. He is then brought to trial, and the DA George Knowland feels sorry for Hufford because he sees the case for what it is, a simple accident, but acknowledges that Hufford must do some prison time in order for justice to be served. The headline sentence is anywhere from 1 - 10 years, and Knowland attempts to strike all sorts of deals with Hufford's highly incompetent solicitor, and when that fails, even attempts to advise the solicitor, who is clearly out of his depth, as he is a corporate lawyer assigned by the company that Hufford works for, not a criminal one. The ignorant solicitor doesn't listen, and Joe gets the full whack, and is sent upstate. There, the film turns into a fairly decent prison drama as we follow Joe through the next three years as he adapts to prison life. Knowland becomes the Warden, and things get interesting. He never forgot Hufford, and looks to help him out. But this sends both men down an awkward road.

Broderick Crawford is excellent here and really adds a natural charisma to the DA and later Warden as a no-nonsense straight-shooter, who is realistic to know that sometimes he needs to transcend the rules and use a bit of discretion to get along. He won the Oscar for Best Actor the same year this was released, for his performance the year previous in "All the King's Men". Ford is strong as Hufford, and portrays his transformation very well. It's a seldom seen film these days, but it's definitely worth checking out for the performances alone.

Dapper dude, Glenn Ford falls prey to being the gallant chap, who, in attempting to defend his lady friend's honour seriously assaults another man in a bar. Ford's fortunes are suddenly in freefall when his victim, the son of somebody 'IMPORTANT' dies from his injuries. His female friend (Martha Stewart) is hardly Top of the Pops on the Reliable Witness charts, initially giving a false name before revealing her true identity, Bertha Williams. (Not exactly Bertha the cool!)

Ford's fate is sealed with the arrival of company provided defence attorney, (Roland Winters), who has never handled a criminal case, is the kind of man who would place a bucket beneath a gas leak and proves to be as much use as a chocolate teapot. Despite the best efforts of brusque, hard as nails, but fair-minded prosecutor Broderick Crawford to influence the outcome, the disconsolate Ford finds himself on the wrong end of a manslaughter charge.

Convicted depicts an abrasive, forbidding portrait of prison life: exhausting, soul destroying work, rigid regimentation and the FOOD. Even the dishes on the a la carte menu amount to little more than recycled slop. The movie throws in a kitchen sink of desperate and despicable characters: the morose, sadistic, corrupt yard captain (Carl Benton Reid), cynical, sarcastic prisoner, Millard Mitchell, a wind-up addict, who makes no secret of his contempt for authority and Frank Faylen, the edgy, agitated informant who would 'set fire to his sister for a dime.' The casting department deserves credit for unearthing Hollywood's most vile and grotesque looking mugs for the yard scenes. The kind of repellent, blood-churning slobs you would least want to encounter in an alley on a Friday night. A thoroughly loathsome crew, who keep the movie just short of descending into a yammer horror.

Such is the grim, gritty nature of the narrative, that the moments of comic relief seem almost macabre. Ford's future looks brighter when Crawford is appointed as the new prison warden and remembers his case. He becomes a trustee, given the job of chauffeur to both himself and delectable daughter, Dorothy Malone. Crawford's other household staff include a chef convicted of poisoning and a barber serving life for slitting a man's throat. Crawford himself scores points for entering the yard and calming the yammering mob. Increasing his street cred by conversing in fluent Spanish with one prisoner, though he gives the Oriental gentleman nearby a wide berth. Will the new boss further Ford's fight for justice, or is the road to freedom littered with unexpected twists and turns?

This consistently engaging prison drama presents one of Crawford's most distinguished performances and one of Ford's least celebrated ones. Whilst delightful Dorothy Malone provides the romantic interest in a largely male dominated cast.

While Glenn Ford played the lead in this film, in so many ways this was co-star Broderick Crawford's film. Ford's character mostly reacted to events over which he had little control, while Crawford comes off as very thoughtful, tough and has some of the greatest one-liners I've heard in films. While not exactly a Film Noir movie, Crawford's lines are often pure Noir--especially during his first meeting with Ford after Ford's character accidentally killed a man. Crawford is the district attorney who must prosecute Ford and while Crawford is a decent guy and feels sorry for Ford, he must do his job and gets a conviction--even though Crawford tried his best to lose the case.

Later, after Ford is in prison, there's a new warden and oddly it's Crawford. This is the first of several very improbably occurrences during the film--the other being when Crawford first arrives at the prison. He is able to quiet a near-riot just by walking through the crowd of convicts in a maximum security prison--while in real life, he would have no doubt been torn apart by the thugs.

However, despite all this, the film has many great twists and turns, juicy performances (particularly by the guy playing the squealer, Ponti, who delivers a magnificent performance of a guy who knows he's about to die). This film is never dull nor is it terribly predictable--making it one of the better prison films I have seen. I heartily recommend it.

FYI--In a brief scene, you see that one of the inmates is none other than Jimmy Dodd--you know, the leader of the Mouseketeers on the original MICKEY MOUSE CLUB. In addition to this bit part, he also played a convict in the film BIG HOUSE, USA (though he oddly was not credited--maybe his role was too small to bother in this film). Considering Dodd's violent and checkered past, it's surprising they let this ex-con hand around Cubby, Annette and the other kids! ;-)

Rather Bland Characters move around the Cold Concrete Yards and in an out of the Prison Environs with not much Emotion and the Whole Film has a Blase Boring Feel to it. Broderick Crawford is Miscast and Dorothy Malone seems to be getting ready for a Fifties Housewife Template and can't wait to Bake Cookies.

Glen Ford is Always Watchable but here He doesn't really do much more than Brood. It is the Supporting Players that Add what Zip there is to this Plodding Penitentiary Drama. The Film has Little Style and while it is all put Together Nicely it is just too Nice Looking and Sterile to be Considered a Superior Prison Picture.

I watched this for Glenn Ford, whom I am really learning to appreciate the more I watch from him. He was truly one of the great actors. Otherwise, I didn't expect much but boy this movie is excellent from beginning to end! The acting and direction are so incredibly beautiful - take for instance a courtroom case early on in the film. Instead of showing the courtroom scene as you would expect from most other films of the time, the focus is on the preparation of the case and then the film cuts to the verdict. The preparation is haunting in of itself, the man we side with has accidentally killed another man, and his lawyer and prosecutor are discussing the case. The prosecutor believes in the man's innocence but thinks that he has to do his job. The lawyer is a really bad one with little experience and rejects all advice from the prosecutor. The cut to the guilty verdict lays out how pointlessly hopeless this case is and thus gains our sympathy for the man. That is really economic storytelling.

Throughout most of the film, the filmmakers portray excellent control of the camera - sharp cinematography, clear camera movement, and amazing montages. I can't put in words how much awe I was during a montage showing the prisoners walking back to their cells, focusing on the movement of their feet and cutting forward in time, always matching the movement. Equally, a quick montage showing the protagonist serving several years of his sentence is just as horrifying as its content would suggest. Finally - and this was the moment this film's genius truly struck me - the scene where Joe meets his former prosecutor again (who is now the new warden) honestly put me in tears. Everything is so believable and Ford is so unbelievably phenomenal in this role. We really want him to be more enthusiastic about his future, but he just isn't, which convincingly communicates the film's message. Even more depressing is a similar scene later on in the film where the warden asks him who murdered one of the convicts - and Joe won't tell, not only because of the fear of being the next target of the criminal mob in prison but also because the folks in prison are the only people he is befriended with. The movie is a true nightmare at times, and I mean that in the best way possible (cinematically).

I know very little about Henry Levin as director but he does a good job of extracting above average performances from Broderick Crawford and Millard Mitchell, and of keeping the film flowing and interesting.

Beautiful Dorothy Malone and strapping Glenn Ford seem to be finding their feet in this film, even if the latter was riding the crest of the wave at this point, with GILDA (1946), UNDERCOVER MAN (1948), and LUST FOR GOLD (1949) under his belt. Perhaps the script did not help, but Ford seems out of his depth in CONVICTED, which is a major minus.

Sound but average cinematography, largely music-less soundtrack, and mostly interior shooting suggest that budget was closer to B than to an A movie.

Still, it has its moments and you can do a lot worse with your time than watching this flick from Hollywood's Golden Era.