Shockproof

Enjoyed this film a great deal because I always liked Cornel Wilde, (Griff Marat) who plays the role as a parole officer and he has to deal with a very attractive gal named Jenny Marsh, (Patricia Knight) who spent five years in prison for taking the rap for murder which she did for her lover Harry Wesson, (John Baragrey). Griff tells Jenny she cannot have anything to do with her boyfriend Harry and he also put many restrictions on her because she is on parole for life. Griff begins to take a liking to Jenny but she fights him off and wants to always go back to her lover. This story takes on many twists and turns which holds your interest and I was very surprised that the hairstyle and clothes that Patricia Knight wore would even look great today, she gave a great performance.

Patricia Knight has just been paroled. Her parole officer is Cornell Wilde. He reads off the list of restrictions which she has already memorized. She almost immediately breaks them when she sees her former lover, gambler John Baragrey in a bookie shop, but Wilde gives her another chance. She loses her job, so her takes her into his home to take care of his blind mother. Soon they are in love. She goes to Baragrey's apartment to tell him goodbye. He calls Wilde at the office to tell him she's breaking parole and playing him for a sucker, so she shoots him. And she and Wilde go on the run.

Douglas Sirk directs with lots of fine location shooting, including the essential-for-noir Bradbury Building. He agreed to shoot this one after reading Samuel Fuller's original story, even though Columbia put in a cop-out ending that frustrated Wilde's character arc, from a straight-arrow fellow with political ambition to a criminal on the run. His real-life wife, Patricia Knight, gives a fine, guarded performance; you never know what she's really thinking or going to do next. Her movie career did not survive her divorce from Wilde. She died in 2004, age 89.

"Shockproof" is a 1949 Douglas Sirk film starring Cornel Wilde and Patricia Knight. Wilde is Griff Marat, who gets a paroled prisoner, Jenny Marsh (Knight) on his caseload. She refuses to give up the bad acquaintances that got her into trouble in the first place; this includes her old boyfriend, Harry (John Baragrey) whom she continues to meet secretly. Griff has taken Jenny into his home to care for his blind mother (Esther Minciotti), and over time, they fall in love. Though she's still pulled toward Harry, she balks when Harry wants her to convince Griff to marry her, a clear violation of his job ethics and her parole. Because Griff has political ambitions, they will then have them where they want him. Gradually Harry realizes that Jenny is not going to cooperate, and he ends up gravely injured. Griff and Jenny go on the run to avoid her arrest.

This is a pretty good noir with two heavyweights attached, Sirk, the director, and Sam Fuller, who co-wrote the script. Unfortunately, the characters aren't fleshed out enough so that we understand their sudden turnarounds - a man on the side of the law with political ambitions decides to throw it all out the window, marry a client secretly, and go on the run riding in boxcars and living in shacks because though the shooting was accidental, Griff feels Jenny won't be believed. That's just Griff - in reality, all three of the main characters do complete reversals during the course of this film with little or no justification.

Wilde does a good job here, and Knight, a new actress to me, is beautiful and has good chemistry opposite her then husband Wilde. She didn't work much longer, as after their divorce, her career dried up.

Entertaining.

Real life husband and wife Cornel Wilde and Patricia Knight star as parole officer / parolee in this quasi noirish post-war drama. Wilde, who is assigned as Knight's parole officer, insists that as a condition of her parole she no longer associate with her former boyfriend, unsavory gambler (John Baragrey). Wilde who is smitten almost immediately by Knight, begins to bend the rules as Knight ignores the conditions of her parole and continues to see Baragrey. Because of her parole violations, Wilde being a concerned officer of the court, suggests Knight move into his home that he shares with his blind, widowed mother and younger brother. The situation continues on a downward trend.

Written by hard edged, cigar chomping, World War II vet Samuel Fuller and directed by melodrama master Douglas Sirk, this movie is a contrast of styles between writer and director. In this case the director Sirk called the shots. With the assist of a script revision from Helen Deutsch (I'll Cry Tomorrow, Valley of the Dolls), Sirk plays it out more as a tortured romantic triangle with dribs and drabs of writer Fuller's permeating cynicism occasionally popping through.

Despite a title suggesting more lurid content, 'Shockproof' offers little to actually be shocked by, probably because of the lack of any real criminal intent by the characters beyond parole violations. What tension this movie engenders is more human conflict from the soap opera style re-draft by Deutsch. With a script basically hollowed from Fuller's fatalistic influence, what's left is a sort of a well-crafted but tepid potboiler complete with a contrived populist ending.

'Shockproof' isn't a bad movie just more of a disappointment of what could have been.

It's difficult to believe, but even by this Early Date of 1949 the Cynicism and Doom Laden Tropes of Film-Noir were becoming unacceptable for the Safe and Conservative Studio Heads. Sam Fuller's Script was stripped of its edginess and coated with a sweetness Ending. Neither Fuller nor Director Douglas Sirk were pleased and voiced Their disapproval loudly.

But the Power of Low-Rung, untested Writers and Directors was Minimal. So what remains is a Soapy Triangle with enough Artistic Insight to be passable and somewhat enjoyable, but hardly Pure Film-Noir and the impact is diluted and disappointing.

Cornel Wilde as the Parole Officer and Patricia Knight have and unexpected collision of Love's vice like grip and its ability to change People drastically. John Barangay as the Ex-Lover is Bland and really doesn't do much to attract audiences to His vile villainy but is good enough.

Wilde, not the best Actor in the World does have a Physical Presence and was Drop Dead Handsome. Knight was as Stiff as They Come and had a limited Career and tries mightily here but was betrayed by Her Talent and got by on Her slightly Off-Beat Beauty.

Overall, Worth a Watch for Sirk and Fuller, but must be Footnoted as mishandled by Studio Interference. Film-Noir Fans and Fuller Cultists might be disappointed. A Film-Noir only in a Wide Definition of the Genre.