Convicted Woman

Convicted Women was Glenn Ford's third film and the first of three that he made with Rochelle Hudson. According to son Peter's biography of his dad he liked working with Hudson, but wasn't crazy about their work together.

Ford is billed all the way down in the cast at 5. He plays a newspaper reporter who along with attorney Frieda Inescourt befriends Hudson who gets herself railroaded into a shoplifting rap and sent off to women's prison.

It's a pretty rotten place run by chief matron Esther Dale and June Lang who is the queenpin among the prisoners and has her own gang. The usual cliches concerning prison pictures especially those for women are found here.

Some of the others in this distaff prison population are are Lola Lane, the tragic Mary Field whose death sparks an investigation and in a small role Donna Reed.

The script has a lot of holes in it, but this was a B picture and I'm sure it wasn't on Harry Cohn's priority list. It's passably entertaining.

I watched this film as I have set my self the goal of seeing every Glenn Ford movie before nukes, climate change or Coronavirus takes me, regardless of how superficial his role in them.

The film's plot is an exact cross between two James Cagney movies. Each Dawn I Die (wrongly convicted inmate becomes embittered and troublesome) and The Mayor of Hell (new prison governor appalled at the harsh treatment takes over and allows the prisoners to govern themselves).

Not a great movie by any stretch of the imagination set in a Woman's prison and one that would have faired better had it been made in the pre code years as these movies need to be a bit seedier and risqué rather than sanitised as it is a very grim thing we're dealing with.

The usually solid and reliable Ford is wasted here, but Rochelle Hudson does a good turn as the innocent woman sent to stir. June Lang is great as the evil and conniving 'Duchess' but the stand out for me is Lola Lane as the streetwise but good hearted con with some great comic one liners.

An OK way to waste 65 minutes, but this Is a story that should have been made way back in 1932 with Barbara Stanwyck in the lead when she was at her most sassy.

Great to see a young Glenn Ford at the start of his career, but don't expect The Big Heat.

The best thing about this movie is Benjamin Kline's cinematography. Little noted, he was the DP of more than 300 films, including a lot of B westerns and Three Stooges shorts. Yet he always had a great eye and with a compliant director -- and that pretty much describes Nick Grinde -- he could shoot a handsome movie. This is one of them, with its early film noir prison photography. He even uses a couple of subdued iris shots very effectively. Notice how the heavy shadows disappear and the camera begins to move after the prison reforms begin.

Mr. Kline never won an award, but he always did a good job, whether shooting a Tom Mix western (take a look at the surviving prints of SKY HIGH and marvel at how well they have aged) or Moe poking Curly in the eye -- comedy calls for bright flat lighting. He worked for more than fifty years and ended his career behind the camera of some TV movies: westerns, of course.

The story is pretty much of a retread of those crusading reform-the-prisons movies, like 20,000 YEARS AT SING-SING and CASTLE ON THE HUDSON. It hews strictly to the Production Code and it would be another decade and a half before lesbianism began to creep into this sort of movie. Rochelle Hudson, a good actress who never got beyond the Bs does a fine job,. Yet while her performance is spot on, she always looks ready to slip out of that prison uniform she's been wearing all day working in the prison laundry and into an evening gown for a night on the town. Few of the other actors, including a very young Glenn Ford are particularly good, which I blame Nick Grinde for.

This was quite obviously intended as a major production for Columbia. There are no major actors, but a lot of them for the crowd scenes. Although the reworked plot and mediocre acting by the majority of the cast don't do a thing for this, the solid performance by Miss Hudson and brilliant camera-work by Mr. Kline make this a superior movie.

From Columbia Pictures, I don't know many pictures from this era, and especially about prison topics. Warner Bros, Metro Goldwyn Mayer studios were rather the lead companies speaking of this scheme. This one is not an escape story, but an interesting tale showing an unusual point of view about the penitentiary system in the USA. Young Glenn Ford doesn't really justifies by itself to see this one; just wait five or six years and you'll have a great Glenn Ford. It's better to enjoy the Rochelle Hudson's performance. The story offers nothing exceptional, not really great scenes, nothing to remember, just a good little prison film.

If you can accept that a women's prison is basically a sorority house waiting to be organized, you might enjoy this programmer. Betty Andrews (Hudson) is in the wrong place at the wrong time and goes to prison as a result. She's an innocent victim of mistaken identity, and had the screenplay extended this tough-minded premise into the prison itself, something memorable, like Caged (1950), might have resulted. Instead, the prison population turns out to be young, shapely (except for Tubby), and well-scrubbed. Even the "boss con" Duchess (Lang) looks ready for a night on the town. Of course, the casual cruelty of the uncaring system toughens Betty in a flash, transforming her into a potential social menace, that is, until crusading reformer Mary Ellis (Inescourt) arrives.

Now, I'm on Ellis's side. Prisons should be as humane as possible, not only for the good of the inmates, but for society as well. But this is Hollywood at its phoniest, where every pitfall is overcome by a near miraculous turn of the script. Look at how easily Brent (Ford) is able to locate the overdue Betty or how compliant the commissioner is or how quickly even Duchess turns around. The message here is a laudable one, namely, that kindness works. However, it's spread on in such simple-minded fashion that it becomes little more than propaganda for a good cause. Perhaps the screenplay reflects New Deal optimism of the time, and worked for those reform-minded audiences. Now, however, the movie's main interest is to fans of a lively young Glenn Ford before he learned the power of low-key.