Ladies of the Big House

Ladies of the Big House (1931) is worth hunting down. Never getting a official DVD release Sylvia Sidney gives her all with those big soulful eyes and deep vulnerability balanced with real strength. This Pre-Code drama could have been a throwaway movie but all the actors make you deeply care about what they are facing. This movie balances heart,a compelling story and Pre-Code drama at it's finest. A obscure movie I hope more people discover and see it's value past it's exploitation sounding title.It's so much more.

It's a little contrived how two young lovers end up in prison on false charges, and you'll have to suspend disbelief over the judicial processes in this film. If you can get past the set-up, you will probably enjoy the performances, particularly those behind bars. Sylvia Sidney is a revelation, and really delivers here. We see close shots of her pretty face amidst flowers early on, and she progresses through scenes of outrage over their false imprisonment, and passion in saying good-bye to her husband in his jail cell, all of which are wonderful.

When you hear 'pre-code women's prison film' you may have an impression based other films, such as 'Ladies They Talk About' (1933), but this one is refreshing in its portrayal of the inmates. There are no lecherous references or other exploitation, for one thing. The performances are also strong, from the inmate who hates Sidney's character (Wynne Gibson), to the one who befriends her (Louise Beavers). It also has an edge in its dialogue, and in showing a row of agitated prisoners rattling their bars and hollering, something we've seen many times through the years, but this is 1931. On the men's side of the prison (...as for the 'Gentlemen of the Big House'), Gene Raymond has some touching moments with a fellow inmate on death row, played well by Rockliffe Fellowes. There are also some nice camera angles employed from director Marion Gering, as well as a dramatic scene on the water that looked scarily realistic. Overall, not great, but a reasonably good film.

Flower shop assistant Sylvia Sidney (Kathleen) falls in love with Gene Raymond (Stan) and they marry. Just as they are about to embark on a new life together, Sidney's jealous ex-lover and wanted gangster Earle Foxe (Athens) sneaks into their house to kill them. However, he kills a detective instead who coincidentally shows up at the house on the same night. Bad guy Foxe frames the newlyweds for the murder and Sidney gets a stretch in prison whilst Raymond gets the death sentence. Are the lovebirds doomed?

Weirdly, the first half of the film is more tense than the main themed second half that is set in the prison. Once, the film moves to the prison, I was expecting tension and action but got very little. The film loses its way, gets a bit sentimental in parts and a bit boring. We need a more concerted effort to spend time with the girls so we can begin to relate. The only character who comes off well is bad girl Wynne Gibson (Susie). There should have been way more characters like her vying to be 'top dog'.

Plot-wise, all of a sudden, there's going to be a jailbreak! That's all very well but at least warn us of this so the audience can get a bit more involved. The whole experience is just emotionally uninvolving. The second half of the film brings things down after an interesting start.

Flower shop girl Sidney has the bad luck to have a vicious hoodlum fall for her in a big way. When she prefers Raymond, the hood has them both framed for murder. Some powerful moments when they're allowed to see each other for a few brief moments in the penitentiary not long before he's to be executed, and it turns out that the meeting been arranged merely to give a tabloid a photo op. The conventions of "the big house" story seem to have been already firmly established by 1931: the snitch with the facial tic, the girl with phony society airs, the tough gal, the big break, the heavy-set matron (Jane Darwell, unbilled), Beavers as a friendly "hot music" loving mama. The story, the characterizations, the writing, all have the familiarity of the mid-thirties; solid entertainment, but not with the freshness found in so many pre-Code films.

This is a fantastic prison drama - better, faster and more tense than EACH DAWN I DIE - seriously! Every second builds the tension and every scene adds to the drama of this exceptionally made picture.

This was Marion Gering's first film he made with his favourite actress Sylvia Sidney. Under his direction she instantly captures your sympathy and as the story progresses your heart is your mouth.

Mr Gering was one of the most imaginative and dynamic directors Paramount had. He really knew how to get his audience to engage. Unfortunately for him Paramount also had some of the greatest directors in their stable so as the decade went on, his prominence there faded - sadly and really unfairly he faded into obscurity. He truly made some of the best movies of the pre-code era.... someone needs to start up a Marion Gering appreciation society!

This picture is the perfect prison drama. I can't imagine how it could possibly be any better. You don't notice the gaping plot holes or the cheesy ending, you're just totally entranced.