In "Prison Shadows," the innocents (nature) seem more convincing and real than the corrupt (urban noir). No doubt it's the natural alliance of Gene, Mary, Bertie, and Corky that spark this somewhat quirky film.
This quartet may be mere dupes in a cranky plot, but they are not stereotypes. Joan Barclay (Mary) leads the way in undermining this possibility--and Monte Blue (Bertie) is right at her side. As a social unit, they may stumble their way into upsetting the plans of a corrupt, conspiratorial boxing ring, but they are never incompetent, nor do their shy qualities hamper them.
Bound by light humor, and generous dispositions, they are in marked contrast to the boxing clique led by the sinuous, rattling snake presence of the manager (Forest Taylor) who stands alone in his convincing evil, as his lackluster followers disintegrate around him. It's the lonesome outsiders pitted against slithery underworld capitalists, with genuine charm winning out.
But never a sentimental note enters their mutuality. In the final shot, when Mary and Gene finally embrace, Gene, now truly converted to her, cannot, having been blind to her qualities, fully engage her direct loving gaze. Instead, he casts a side look at the viewer, expressing a combo of unworthiness and gleeful good luck.
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