Act of Violence (1948) Fred Zinnemann

In the late 1940’s, director Fred Zinnemann made a loose trilogy of films depicting the effects of the post war aftermath. First up was “The Search” (1948) with Montgomery Clift as an American soldier helping a young boy search for his mother. The last film was “The Men” (1950) with Marlon Brando, in his film debut, as a paralyzed G.I. attempting to adjust to his new post war life.  In between these two works came the noirish thriller,” Act of Violence.”

“Act of Violence” explores the choices one makes creating the sometimes thin line between being a hero and an informer. Frank Enley (Van Heflin) is a war hero, maybe. He has a beautiful wife, (a young fresh faced, Janet Leigh), a young boy, a thriving business, a house in the California suburbs and is well respected in the business community. He goes on weekend fishing trips with his neighbor while the wives are happily at home. Into this tranquil and serene world comes Joe Parkson (Robert Ryan), a limping, gun carrying, revenge seeking former army buddy who is dead set on killing Frank. Parkson is sinister looking, seething with hate. Joe cannot forget or forgive what happened back when they were prisoners of war in a Nazi stalag camp.

Women’s Prison (1955) Lewis Seiler

    Made in 1955, “Women’s Prison” is an early example of a sub-genre of films that has muddled along for more than 5o years without much change in storyline. There is the young waif (not your typical criminal type but a young innocent who through unfortunate circumstances became involved in a crime), the career criminal who is returning to the joint for the umpteenth time, the wise cracking sidekick, the cruel matrons, and the sadistic superintendent, in this case played by none other than Ida Lupino. Few of these films have ever risen above the level of exploitation, John Cromwell’s “Caged” (1951) the most obvious exception. The most unique and improbable feature about “Women’s Prison” is the prison itself, being a coed penitentiary, well almost. Split into two sections, the men’s and the women’s. There is a Warden (Barry Kelley) who runs the entire institution and a cruel female Superintendent, Amelia Van Zandt (Ida Lupino), who is in charge of the female wing.

     Van Zandt is no nonsense, borderline psychotic who runs the prison with an iron hand, minor infractions punished severely without remorse. It seems the root of Van Zandt’s sadistic nature is her incapability to establish an emotional relationship with a man and takes out her frustrations on the inmates. At least, we are given that explanation by the compassionate prison doctor (Howard Duff) who is in verbal battles with Van Zandt throughout the film. Yes, a woman cannot be fore filled without a man according to the doctor and of course, by the two writers credited of the script, Jack DeWitt and Crane Wilbur.

    The film begins when waif like Helene Jensen (Phyllis Thaxter), convicted of manslaughter due to a car accident that caused the death of a young girl, and returning inmate Brenda Martin (Jan Sterling) are delivered to the prison. Helene is immediately placed into solitary for a two-week stretch, on orders from Superintendent Van Zandt, which is too much for Helene’s fragile psyche and soon she is screaming uncontrollably. Annoyed by the constant ear-piercing crying, Van Zandt orders the matrons to strap Helene into a straight jacket and toss her into a padded cell. That ought to teach her! The following morning, the matrons find Helene comatose, probably from all that screaming. She is taken to the infirmary where prison’s doctor, the sensitive Doctor Crane lashes out at Van Zandt’s inhumane methods. Not taking any bullshit from this compassionate do-gooder, Van Zandt verbally strikes back at him by enlightening him to the fact she is only reforming these women and the harsh measurements are necessary in order to prepare them to function in society.  Helene manages to survive her ordeal in solitary and is eventually transferred into the general inmate population.

    The film’s switches its focus from Helene to another inmate Joan Burton (Audrey Totter), whose husband Glen (Warren Stevens) is also a prisoner in the male section of the prison.  Glen has discovered a secret passageway that leads to the women’s wings and sneaks over to visit his wife. Joan is scheduled to be released soon and being a loving husband, Glen wants to spend a little quality time with his wife before she departs. Apparently, one of his visits was a memorable one as Joan soon finds herself pregnant. When the Warden and Van Zandt discover the pregnancy, they want to know how Glen accomplished this breach in security, sneaking into the women’s wing that is, not getting his wife pregnant. The Warden can’t get any information out of Glen so he threatens Van Zandt giving her one week to find out from Joan the details or she is out of there.

    Van Zandt begins a methodical ritual of waking up the pregnant Joan every night dragging the expectant inmate to her office and attempting to force the woman to spill the beans on how her husband sneaked into the women’s section. Only problem is, Joan doesn’t know because Glen never revealed to her how he did it. Of course, the vile Van Zandt does not believe Joan’s claims of innocence and responds with vicious slaps across the inmate’s face. Finally, in a fit of rage Van Zandt knocks the pregnant Joan down to the floor.

    

 Unconscious, Joan ends up in the infirmary, so severely beaten she is on oxygen. Glen sneaks over again to visit her only to watch her die with him by her side. Almost magically, Glen pulls out a gun and goes after Van Zandt. Meanwhile Brenda and the other inmates upon learning of Joan’s death are set to riot. They burst into Van Zandt’s office, drag her out taking her hostage. The Warden sends in armed guards with tear gas to crush the uprising.

      So here, we have a riot in the women’s wing, a crazed husband with a gun on the hunt for Van Zandt, armed guards lobbing tear gas in and Van Zandt running, hiding and dodging everyone only to appropriately “hide” in the padded cell. The good Doctor, the only one with any common sense in this entire film is helpless to stop the out of control insanity.

    Overly melodramatic, with some laugh out loud situations you can easily understand how this film found its camp following in the early 1970’s. Ida Lupino, a very good actress, hams it up here, and one has to wonder if she was in on the joke. Then there is Ms. Lupino’s wardrobe. While the inmates all wear standard drab prison uniform type dresses, Ms. Lupino is dressed as if she fell off the pages of a 1950’s Vogue magazine ad. Lupino apparently, wanted her character to dress stylishly to emphasize the contrast between her control freak character and the lowly inmates.

     Lupino made this film right after the collapse of “The Filmakers”, the independent production company she formed with her former husband Collier Young. It was with “The Filmakers” that Lupino directed most of her films, “The Bigamist”, “Outrage” and “The Hitch-Hiker” and produced and acted in such works as “On Dangerous Ground”, “Beware My Lovely” and “Private Hell 36.”   When the company collapsed in 1955 (an ill-fated decision to go into film distribution, which Lupino fought against) Ida had to find work and “Women’s Prison” was her first post “The Filmakers” job. Interesting enough, Lupino would play a similar role some 17 years later in the made for TV movie, “Women in Chains.”

    Women in Prison films became very popular in the 1970’s and 1980’s though the premise changed very little. This included Roger Corman cheapie’s like “The Big Doll House” and its sequel “The Big Bird Cage”, both with Pam Grier, “Caged Heat”, directed by Jonathan Demme among many others. These films became so popular  that even made for television movies like the previously mentioned  “Women in Chains” (1972) again with Lupino and in 1982, “Born Innocent” with head twisting pea soup queen Linda Blair (who also made her own “R” rated WIP feature film, “Chained Heat”). Even the quaint murder mystery TV series “Murder She Wrote” had a WIP episode entitled “Jessica Behind Bars” that included Adrienne Barbeau in the cast.

     “Women’s Prison’ was directed by the pedestrian Lewis Seiler with a cast that includes along with Lupino, Howard Duff, her husband at the time, Jan Sterling, Audrey Totter, Cleo Moore, Mae Clarke and Juanita Moore. The film was released by Columbia.

     You will notice I am giving this film only two stars out of five for many reasons including a hilarious overly melodramatic script, over the top acting and uninspired direction. That said, on another level, the film is a lot of unintentional campy fun much for the same reasons just mentioned. Just to see Lupino’s final scene padded cell antics makes this film worth viewing. On this basis I would rate the film ***1/2.  

**

No Man of Her Own (1950) Mitchell Leisen

 Released in 1950, the film stars Barbara Stanywck and John Lund, it was directed by Mitchell Leisen from a screenplay by Sally Benson and Catherine Turney, based on the novel “I Married a Dead Man” by Cornell Woolrich who wrote it under the pen name William Irish. This was the first of four film versions to have been made from the book. In 1983, there was “I Married a Shadow (Jai Espouse une Ombre) starring Natalie Byle. In 1996 came “Mrs. Winterbourne” with Ricky Lake and in 2001 a made for TV movie called “She’s No Angel” with Tracy Gold. By the way, do not get this film confused with the 1932 Clark Gable/Carole Lombard “No Man of Her Own,” the only thing they have in common is the title.

Helen Ferguson (Barbara Stanwyck), a woman with an immoral past finds herself pregnant and dumped by her low life lover Steve Morley (Lyle Bettger) for another dame. He slips Helen some money and a train ticket underneath the door of his apartment and tells her to get lost, go back home to San Francisco. Thus begins a series of events, wild as they are, that will change everyone.

On the train heading home Helen meets Hugh and Patrice Harkness (Richard Denning and Phyllis Thaxter) a newly married couple who are on their way to Hugh’s parents’ house in Illinois where Patrice will meet her in-laws for the first time. Like Helen, Patrice is also pregnant. Enroute, Helen and Patrice become chatty, sharing some bonding moments; Patrice even lets Helen try on her ring. Just at this moment, the train derails resulting in a deadly crash. Hugh and Patrice are killed while Helen is injured ending up in the hospital. With the ring still on her finger everyone in the hospital assumes she is Patrice Harkness. Helen, her life at a dead end, allows the misunderstanding to continue and soon finds herself lovingly welcomed into the home of Hugh’s parents. Hugh’s brother, Bill (John Lund) is immediately attracted to her but he is also a bit suspicious of her however, he says nothing. Though at first feeling guilty, Helen eventually settles into the middle class, middle America home as both she and the baby are warmly embraced by the Harkness family. Life is good until her former creep of a lover Steve resurfaces, seeing dollar signs, he has a scheme of  his own.

“No Man of her Own” is a well-paced atmospheric tense noir and Barbara Stanwcyk gives another one of her effective performances with a strong female character. She is especially impressive during the marriage ceremony scene which is all part of Steve’s blackmail scheme. We here her in voice over telling us what she is thinking, yet if your watch her eyes, they reveal even more than what is said. The biggest problems with the film are a weak performance by John Lund who comes across as just plain bland and unexciting. Additionally, at forty-three years old, Barbara Stanwyck is a little too old for the role though, as I mentioned earlier, she gives her usual strong performance. Finally, I have not read the Woolrich novel on which the film is based however, from what I have read in doing research the book’s ending is much bleaker than the happy ending tacked on to the film. The darker ending would have made for a much stronger film than the obligatory happy studio ending.

 A few words must be said for Lyle Bettger who is excellent as the totally despicable slimy Steve, Helen’s cold hearted blackmailing boyfriend. Bettger made a career in mostly “B” films and later on TV typically as a villain. Here he is effectively vile and loathsome, he makes you just want to take a shower and wash his slime out of your system.

If you ever read a biography on Billy Wilder you would come to believe Mitchell Leisen to be the worst director ever to sit behind a camera. Wilder claims Leisen ruined his scripts (“Midnight” and “Hold Back the Dawn”, both co-written by Charles Brackett) and this is what made him determined to become a director himself, to protect the written word. Preston Sturges also complained about Leisen cutting his scripts (“Easy Living” and “Remember the Night”). So are Leisen directed films that bad? Well, I have seen “Midnight” and it is a funny and smartly written and well directed film as is “Hold Back the Dawn.” As for the Sturges written “Remember the Night” it is a nice blend of romantic comedy with some dark drama and a Christmas season background. It also is a precursor to the reuniting Fred MacMurray and Barbara Stanwyck four years before Wilder’s “Double Indemnity.” Leisen’s films are always visually stylish thanks to his background in art direction and costumes. In his time he was a well-respected and versatile studio director, despite Wilder and Sturges thinking, who did well whether it was a romantic comedy, melodrama, or musical. He sometimes even mixed them together as he did with “No Man of Her Own”, a blending of woman’s melodrama with noirish overtones and doing it successfully. Other Leisen films include “Hands Across the Table”, “Swing Low, Swing High”, both with Carole Lombard and Fred MacMurray, “Arise My Love”, “I Wanted Wings” and “The Mating Season.”