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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.
  • telegonus19 November 2001
    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.
  • 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.
  • 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.
  • whpratt114 September 2007
    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.
  • MartinTeller3 January 2012
    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.
  • No need to repeat the plot. Prisons are by nature hothouses of repressed emotion. People locked up in unnatural conditions are grist for strong melodrama. When done right, as in Brute Force (1948) or Riot in Cell Block 11 (1953), the results are powerfully memorable. The trouble with this prison film is that it presents the look but none of the feel of hothouse melodrama. Thus, we get actors hitting their marks and speaking their lines, but with one notable exception, without the needed emotion.

    For example, the movie's dramatic climax is the anticipated revenge killing of the prison stoolie Ponti. It should be fraught with fear and mixed emotion. Now, Faylen as the stoolie delivers fear in spades and is the exception to the generally colorless performances. However, watch killer Mitchell and how the scene is staged—he's expressionless, minus the satisfaction that avenging his friends should arouse. Moreover, he's filmed at an impersonal distance, suggesting that this is simply one more set-up on a tight shooting schedule. Thus, what should be a very personal act causing our imagination to both leap and recoil as the door closes on the stoolie, fulfills only half of the equation.

    On a less mixed level, there's guard honcho Carl Benton Reid. He speaks his lines well enough and is otherwise an excellent actor. But here his character exhibits none of the intense features the stereotype implies. Now, there's nothing intrinsically wrong with stereotypes. It's really a matter of how well you do them. In Reid's case, his killing at the end again arouses no particular feeling beyond that of one more plot device. At the same time and on a bigger scale, when warden Crawford walks among the yammering convicts in the yard, the protesters look nothing like angry mob of the earlier stock shot, but more like well- fed extras standing around on a set. The point is (without going on) that the movie fails to rise above strictly programmer status, despite some clever dialogue, Frank Faylen, and a civilized dust-up between attorneys Crawford and Winters— and also, a sparkling, but largely wasted, Dorothy Malone.

    The problem, as I see it, lies with the director (Levin) who's responsible for staging the scenes, rehearsing the actors, and creating moods while pinpointing emotions. Mitchell, Reid, Doucette, and Ford are all fine actors, capable of rising to an occasion when called upon. However, they're not called upon here. I'm afraid Levin's preference for frothy comedy shows up in this situation where the material is comedy's polar opposite. So, my guess is that he took the film as simply another studio assignment and coasted through.

    In passing—I sympathize with Columbia studios and Broderick Crawford. Someone once pointed out that Crawford's probably the worst actor ever to win a top Oscar, and I think that person's right. He's a car with basically one gear—a blustery fast-forward-- and it does get tiresome. As a result, here he is in 1950, suddenly a big name commodity but without the skills to back it up. He's in an embarrassing spot while the studio wonders how best to cash in. Fortunately for both, serial TV is just around the corner. He makes a game try in this film, but unfortunately his pudgy car is just not geared for nuanced emotions. But then, neither is the movie.
  • blanche-24 November 2009
    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.
  • richardchatten2 September 2020
    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...
  • I thought this movie was well acted Great casting! Too bad they don't make sequels to many of the older movies such as this one. It would be great to follow the lives of the characters, after the ending of the movie!
  • 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 .
  • "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.
  • CCK199615 August 2018
    The movie was well put together other than the fact that Self Defense was never mentioned as a defense for Ford's character. In the real world, no one would have been convicted or imprisoned for punching someone and causing their death under the same circumstances. Due to this exaggeration, I almost turned the movie off after about ten minutes. I'm glad I stuck with it because it turned out to be a decent movie.
  • 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! ;-)
  • 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.
  • 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.
  • fchase-724742 September 2018
    I saw the movie two days ago and I've already forgotten how it ended. Not even pedal-to-the-metal Broderick Crawford can save it. Mucho great character actors (Whit Bissell, John Doucette) Frank Faylen), sort-of-A-list types (Ed Begley, Dorothy Malone), DP Burnett Guffey, all wasted--dragged down by the usual self-important Sad Sack Glenn Ford. Great though seeing Millard Mitchell, Richard Conte's buddy in THIEVES HIGHWAY. I know the creators of this film didn't intend it, but it's fascinating to contemplate how every single character in the movies ALWAYS makes not just a bad decision, but the WORST decision available. The only sensible one in this movie is Crawford's mother (?) who thinks it's not really such a great thing that she and Crawford and Malone are now going to live in the prison, waited on hand and foot by murderers, etc.
  • Warning: Spoilers
    Glenn Ford, a middle-class sort of guy, causes an accidental death and is sent up for one to five because his lawyer bungles the case criminally. Broderick Crawford is the DA who convicted him, but believes Ford got a bum bounce. Crawford becomes the prison warden and brings his daughter, Dorothy Malone, along. She and Ford meet briefly and it's love at first sight. There are more sights when Crawford deliberately makes Ford his chauffeur.

    Malone leaves for a few weeks and when she comes back she meets Ford again in the warden's office. By an unfortunate juxtaposition of circumstances, Ford has suffered mightily in her absence, and when he leaves the office, Malone says to her Dad, "He doesn't seem like the same man." The problem is that Ford actually DOES seem like the same man -- sullen, taciturn, full of resentment. The first time we SEE him, he's glum and he stays that way throughout, as if he were playing a musical instrument that had only one note on it. He's a decent actor with some considerable range -- from melodrama ("The Big Heat") to comedy ("The Teahouse of the August Moon) -- but not here.

    Dorothy Malone was never much of an actress. Every word sounds like a memorized line from a script. But she's never looked better than she does here. Really, she's very attractive, though not nearly as sexy as she was allowed to be in "Battle Cry." Broderick Crawford had TWO notes on his instrument -- gruff, factual, sneaky, and happy, gullible, and dumb. Here he's in Role Number One. He's -- how you say? -- stern but fair. But his job as warden leaves him towards the end with his huevos in a vice, just like Ford. Crawford's code is the law. Ford's is not squealing on a friend. The two don't mesh.

    It's an inexpensive production. There are plenty of extras but few outdoor scenes and no panoramas. We see only a few indoor sets. (It was a play before it was a movie.) It's amazing how much difference location shooting can make. Compare the prison scenes in "Call Northside 777." Prison movies are generally kind of depressing. The entire milieu is so drab. And Harry Levin certainly gives us a sense of the tedium involved in working in the laundry, a place full of clattering machinery and steam.

    I don't know what prison life was like in 1950, probably more brutal than it is today, which is saying a lot. I doubt Ford would get through Day One without being sodomized by two or three big, bald, tattooed goons with names like T-Bone and Ripper. According to my sources, one of whom claims to be a penologist although he seems to know next to nothing about sex, the film only hints at the atmosphere. Ford is loyal to his friends because they happen to be his cell mates. Modern allegiances extend to a much larger group, often based on race, and survival depends on that membership.

    In his book, Randall Adams, who spent twelve years in the slams after being unjustly convicted of murder, describes an incident in a Texas prison. He and another inmate are sitting at a table playing cards. Another inmate trips on a steel staircase, perhaps in an epileptic seizure, and tumbles to the bottom. Adams and friend continue playing cards. After a few minutes, one of them saunters to the phone and reports the unconscious body at the foot of the staircase. You have your clique, your clique has enemies, and everyone else is treated with complete indifference.
  • 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.
  • Convicted (1951)

    ** 1/2 (out of 4)

    A war hero (Glenn Ford) gets into a drunken fight when he punches a guy, which eventually leads to his death. The local D.A. and future warden (Broderick Crawford) believes the man when he said it was an accident so he quickly tries to help him get paroled and adjust to prison life. The two leads offer up very good performances but that's about the only original spin in this film as the screenplay is held down with cliché story lines that we've seen in countless other movies. We get the normal stuff of an inmate who hates one of the guards, the big escape and of course you typical fights. All of this stuff comes off rather standard but Ford and Crawford deliver performances that keep the film going strong through the rather silly ending. I was really impressed with the performance by Ford as I haven't seen him give this type of performance before. I think it's also worth noting that his performance here seems to have had an influence on Charles Bronson and especially his films of the 1970s.