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Caged

  • 1950
  • Approved
  • 1 घं 37 मि
IMDb रेटिंग
7.6/10
5.3 हज़ार
आपकी रेटिंग
Eleanor Parker in Caged (1950)
Trailer for this women in prison drama
trailer प्ले करें2:05
1 वीडियो
88 फ़ोटो
अपराधजेल ड्रामाट्रेजेडीड्रामाफ़िल्म नोयरमनोवैज्ञानिक ड्रामा

अपनी भाषा में प्लॉट जोड़ेंA gentle, naive, pregnant 19-year-old widow is slowly, inexorably ground down by the hardened criminals, sadistic guards, and matron at a woman's prison. Will she be the same person when her... सभी पढ़ेंA gentle, naive, pregnant 19-year-old widow is slowly, inexorably ground down by the hardened criminals, sadistic guards, and matron at a woman's prison. Will she be the same person when her sentence is up?A gentle, naive, pregnant 19-year-old widow is slowly, inexorably ground down by the hardened criminals, sadistic guards, and matron at a woman's prison. Will she be the same person when her sentence is up?

  • निर्देशक
    • John Cromwell
  • लेखक
    • Virginia Kellogg
    • Bernard C. Schoenfeld
  • स्टार
    • Eleanor Parker
    • Agnes Moorehead
    • Ellen Corby
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.6/10
    5.3 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • John Cromwell
    • लेखक
      • Virginia Kellogg
      • Bernard C. Schoenfeld
    • स्टार
      • Eleanor Parker
      • Agnes Moorehead
      • Ellen Corby
    • 97यूज़र समीक्षाएं
    • 41आलोचक समीक्षाएं
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    • 3 ऑस्कर के लिए नामांकित
      • 2 जीत और कुल 5 नामांकन

    वीडियो1

    Caged (1950)
    Trailer 2:05
    Caged (1950)

    फ़ोटो88

    पोस्टर देखें
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    पोस्टर देखें
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    + 82
    पोस्टर देखें

    टॉप कलाकार73

    बदलाव करें
    Eleanor Parker
    Eleanor Parker
    • Marie Allen
    Agnes Moorehead
    Agnes Moorehead
    • Ruth Benton
    Ellen Corby
    Ellen Corby
    • Emma Barber
    Hope Emerson
    Hope Emerson
    • Evelyn Harper
    Betty Garde
    Betty Garde
    • Kitty Stark
    Jan Sterling
    Jan Sterling
    • Jeta Kovsky - aka Smoochie
    Lee Patrick
    Lee Patrick
    • Elvira Powell
    Olive Deering
    Olive Deering
    • June Roberts - Inmate
    Jane Darwell
    Jane Darwell
    • Isolation Matron
    Gertrude Michael
    Gertrude Michael
    • Georgia Harrison
    Sheila MacRae
    Sheila MacRae
    • Helen
    • (as Sheila Stevens)
    Gertrude Astor
    Gertrude Astor
    • Inmate
    • (बिना क्रेडिट के)
    George Baxter
    George Baxter
    • Jeffries
    • (बिना क्रेडिट के)
    Guy Beach
    • Mr. Cooper
    • (बिना क्रेडिट के)
    Don Beddoe
    Don Beddoe
    • Commissioner Sam Walker
    • (बिना क्रेडिट के)
    Gail Bonney
    Gail Bonney
    • Inmate
    • (बिना क्रेडिट के)
    Lovyss Bradley
    Lovyss Bradley
    • Inmate
    • (बिना क्रेडिट के)
    Ralph Brooks
    Ralph Brooks
    • Man in Car
    • (बिना क्रेडिट के)
    • निर्देशक
      • John Cromwell
    • लेखक
      • Virginia Kellogg
      • Bernard C. Schoenfeld
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं97

    7.65.2K
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    फ़ीचर्ड समीक्षाएं

    9evanston_dad

    Thanks for the Haircut

    "Caged" is the rare kind of movie that works both as a film to take seriously and as a camp classic.

    Eleanor Parker plays Marie Allen, a naive 19-year-old who goes to prison as an accomplice in an armed robbery staged by her loser husband. She doesn't really belong there, but despite the efforts of the prison administrator (Agnes Moorehead) to help her get paroled, she remains locked up, only to be turned into a jaded criminal by the very institution that's supposed to reform her.

    The film is full of rough stuff, atrocities and indignities heaped one after another on Marie or the other inmates. Women are beaten, subjected to psychological abuse, thrown into solitary confinement. Their heads are shaved, they have babies who they're forced to give up for adoption. One woman freaks out and breaks a window with her bare hands, and we see the blood spurting from her severed arteries. Another woman hangs herself. Presiding over all is sadistic warden Evelyn Harper, played memorably by the gigantic actress Hope Emerson, who abuses her power so egregiously that she eventually gets stabbed in the chest with a fork by one crazy inmate while Parker's character hisses "Kill her! Kill her!"

    The screenplay tosses out one memorable line after another -- my favorite is Parker's departing words to Moorehead when Marie finally gets her parole: "Thanks for the haircut." But for all the women-behind-bars sensationalism, the film is no joke. It's well directed by John Cromwell, who clearly wanted to make a serious indictment of a flawed system, and if it's lurid, it's also effective. I laughed a lot, but I also found myself outraged.

    In addition to Parker, Emerson (both Oscar nominated, by the way) and Moorehead, the cast also includes Jan Sterling and Betty Garde as two of the more memorable inmates.

    Grade: A
    8Hermit C-2

    "I got news for ya"--this is a good movie!

    At nearly fifty years old, 'Caged" isn't quite like today's women-in-prison sexploitation flicks--and that's good. But this could certainly be a prototype for those movies. Many of the same elements are here: an innocent young woman wrongly sent to prison, tough and bitter cons, unfeeling and corrupt matrons--there's even a shower scene! You'll have to look hard for any allusions to homosexuality, however; the references are so oblique that they're practically nonexistant. Still, this movie pack a wallop. It's effective and affecting.

    It's a manipulative film but you won't mind. Eleanor Parker projects all the innocence and vulnerability of a wounded fawn in the starring role. As one rotten break after another befalls her in the joint, she loses that innocence and becomes transformed into a classic hardened con, a transformation greatly aided by the seemingly simple device of a head-shaving she receives from a cruel matron. The film has a plainly understood message: if no effort is made to rehabilitate inmates, all a prison is good for is to educate criminals in their chosen vocation, crime. That's another big difference between this film and the junky sexploitation pictures of more recent years--the latter don't have a message.
    8jzappa

    One of the Most Stunning Screen Transformations in Recent Memory

    John Cromwell's Caged is an exceptionally made film for the most part, a bold expose for its time on the prison system. There are many overt visual techniques which make the cinematography cloudy and suggestive, very impressive acting and a fair deal of realism.

    Eleanor Parker fashions one of the most stunning screen transformations in recent memory. From the beginning, she delineates all the chastity and defenselessness of an injured yearling. As one foul interval after another follows her, that unworldliness rusts, her clean hands are continuously stained and she boils over into the vintage hard-bitten felon. If no attempt is made to adjust felons, all a prison is good for is to further indoctrinate criminals in their pegged rackets.

    Of all of them, the most indelible impression is made by the gruff voice and towering physicality of Hope Emerson, who mustered all of the feelings of inadequacy one frankly imagines she suffered in her time to scald the morale of the inmates over which she abuses the power she sadistically relishes. That's not to say she is a "cow" surrounded by sumptuous, insatiable inmates. Cromwell indeed surrounds Parker with jowled, bug-eyed, bony, gnarly women. The corporeal presence of the vast majority of the convicts speaks volumes to why, in 1950 America, these women led the lives they did. And Parker, sent to prison, after a botched armed robbery attempt by her equally young husband who is killed, leaving her with an accomplice technicality as a curious wedding gift, is pitted among them in nightmarish situations. Her entirely unnatural experience inside begins with her discovery that she is pregnant. She gives birth to a healthy baby and grants custody to her mother to get the baby back after she is released, but her apathetic mother gives the child up for adoption for good because the child does not harmonize with the grandmother's habits.

    Parker is then left with all the abandonments of the most deeply felt order: Her husband, her freedom, her child, her mother. Subsequently, one need just run down the characters surrounding her to map the bearings of the angle the drama will take: Manipulative and vicious superintendent Hope Emerson, hard-boiled ringleader Kitty Stark played by the boldly unglamorous Betty Garde, and corruption matron Lee Patrick. How does a sympathetic warden, Agnes Moorehead, match the impact of the environment she finds that she provides someone like Parker? The final handful of shots endure.
    subcityii

    Still A Stunner

    I saw this movie in Hollywood as part of the annual film noir festival at the American Cinematheque. This film has lost none of its ability to move an audience. Not only is it a good prison drama, but it is a good example of film noir moviemaking as well.

    It was a bit of daring to show how corrupt the prison system can be and "inmates decaying" as one character put it.The lead character (Eleanor Parker) goes from being an innocent to becoming as hard as anyone else in the prison system due to the efforts of her matron and chief tormentor (Hope Emerson). It is because of this transformation that the film goes from being a routine prison drama to a first-rate noir thriller.

    Jan Sterling, who plays "Smoochie" in the film, was at the screening and spoke afterward. She said director John Cromwell (father of character actor James Cromwell) did a great job of making you feel like you were in prison. She said by the end of the shoot, the performers felt like they were really confined. Parker, Emerson and the script by Virginia Kellogg and Bernard C. Schoenfeld were nominated for Oscars.
    dougdoepke

    "Babes Behind Bars" It Ain't

    No need to repeat the plot.

    Catch that long tracking shot of Harper (Emerson) taking inmate attendance one-by-one. It goes on much longer than expected as each inmate gets a brief moment on screen. Importantly, we see that each is a perfectly ordinary looking woman far from the usual Hollywood glamour type. I single out this minor scene because it's director Cromwell's way of showing the film's serious intent despite all the gripping melodramatics.

    What the movie does so effectively is combine first-rate melodramatics with a powerful case for liberal reform. That's because, despite its mission, the prison amounts to a breeding ground of criminality. For example, nineteen-year old Marie (Parker)"flops" in as a wide-eyed innocent but leaves as a hardened criminal; guard Harper's sadism and influence-peddling flourishes; day-to-day routines strip inmates of self-respect; the medical dispensary remains under-funded and filthy; while the entire package is held together by state politics, skimpy budgets, and behind the scenes string-pulling. Apparently screenwriter Kellogg researched her subject, so likely the subtext mirrors much of the reality of the time.

    Understandably, this message part is over-shadowed by some of the strongest and most unusual dramatic acting of the period. Seldom has any film featured as many mannish women as this one, and at a time when feminine stereotypes not only prevailed but excluded all else. The producers went out on a limb with this one. But it paid off with two memorable performances-- Emerson's shambling gait and slow-motion cruelty, along with queen-bee Garde's sudden descent into hollow-eyed dementia. The results here are both exotic and unforgettable.

    One scene has stayed with me over the years. Marie expects some relief as lights go out on her first night in prison. But then the real horror starts. All the pent-up emotions and adjustments of the day come tumbling out—the crying, the coughing, an animal scream. Marie hunkers down in the sheets, wide-eyed awake. Now she knows. There is no relief. Not even in the dark. The prison nightmare never ends.

    This is one of the daring gems of the noir period before the Cold War retreat of the 1950's. Thanks to a powerful convergence of movie-making, the movie's as riveting now as it was then. Don't miss it.

    इस तरह के और

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    6.6
    Born to Be Bad
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    6.9
    The File on Thelma Jordon
    The Sound of Fury
    7.2
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    6.6
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    The Damned Don't Cry
    7.1
    The Damned Don't Cry
    I Want to Live!
    7.5
    I Want to Live!
    Sudden Fear
    7.5
    Sudden Fear
    Kiss of Death
    7.4
    Kiss of Death
    Where the Sidewalk Ends
    7.5
    Where the Sidewalk Ends
    A Letter from a Time of War
    Gun Crazy
    7.6
    Gun Crazy
    Cry Danger
    7.3
    Cry Danger

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      After I Am a Fugitive from a Chain Gang (1932) led to prison reform in six states, Warners producer Jerry Wald wanted to do the same for women's prisons and sent former newspaper reporter Virginia Kellogg out. She had written a novel that became a Kay Francis film, Mary Stevens, M.D. (1933), about a doctor who bears a child out of wedlock. She had also written well-researched original stories that were the basis for T-Men (1947), about treasury agents, and White Heat (1949), starring James Cagney as a psychotic gangster. She spent months doing research for Caged (1950) at prisons around the country, and was even briefly incarcerated in one of them. Her research is evident in the script with authentic prison slang of the era, and details of prison life, such as the caste system, and the tedium of daily life. Virginia Kellogg and Bernard C. Schoenfeld received an Oscar® nomination for Caged (1950)'s story and screenplay.
    • गूफ़
      An inmate, Georgia Harrison, gets hysterical and breaks the window in her corridor. In this case, the window was inside the bars, which is why the glass would be in a protected and unreachable position. Instead, the bars would have been placed first inside, then the glass further away. The glass would probably be re-enforced glass with wire or even safety glass. Otherwise, an inmate could do just what Georgia did, break it. Then pieces of the glass could be used against other inmates or even prison employees. But then if the glass was safety glass, the scene with Georgia breaking the window would not have been quite so dramatic.
    • भाव

      Helen: [referring to a newly paroled Marie Allen] What shall I do with her file?

      Ruth Benton: Keep it active. She'll be back.

    • कनेक्शन
      Edited into House of Women (1962)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल20

    • How long is Caged?Alexa द्वारा संचालित
    • What is 'Caged' about?
    • Is 'Caged' based on a book?
    • What did Marie and her husband do?

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 10 जून 1950 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • Sin remisión
    • फ़िल्माने की जगहें
      • Warner Brothers Burbank Studios - 4000 Warner Boulevard, बर्बैंक, कैलिफोर्निया, संयुक्त राज्य अमेरिका
    • उत्पादन कंपनी
      • Warner Bros.-First National Pictures
    • IMDbPro पर और कंपनी क्रेडिट देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      • 1 घं 37 मि(97 min)
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.37 : 1

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