Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined ...
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A serial killer in London is murdering young women he meets through the personal columns of newspapers. He announces each of his murders to the police by sending them a cryptic poem. After ... See full summary »
The autobiography of elegant criminal, François Eugène Vidocq, from his birth in a French jail in 1775 to his appointment as chief of police of Paris where he intends to rob the city bank. ... See full summary »
Jenny Marsh, still dangerously attractive after 5 years in prison for killing a man in defense of her shady lover Harry, clashes at first with parole officer Griff Marat, who's determined to make Jenny go straight. For lack of other prospects Griff finds Jenny a job in his own home, and his objectivity about her wavers, while Jenny continues to meet Harry secretly. However, when Jenny transfers her affections from Harry to Griff, the situation becomes even more dangerous... Written by
Rod Crawford <firstname.lastname@example.org>
In Samuel Fuller's original script, the film ended with a violent rebellion by Marat against the system that kept him and Marsh apart. The studio had National Velvet (1944) scriptwriter Helen Deutsch step in to pen a soft-suds rewrite. See more »
Now here's yet another movie from the apparently chaste 1940s where, even though the strangle-hold of the Hays Code was very much in effect, its story features a man who's in a position of trusted authority (this time it being a handsome (natch) parole officer) who becomes (through deliberate intentions) romantically involved with one of his parolees (this time it being a beautiful (natch) murderess/ex-con).
And, I don't know about you, but, from my point of view, when it comes to issues like moral ethics and a sense of professionalism, I judge any hanky-panky (with one's client, or patient, or whoever) as being pretty damn low, and lousy, and clearly unacceptable. (Yes, even in a movie!)
And it was because of the professionally immoral nature of this movie-romance (and the events that revolved around it) that I purposely reduced Shockproof's star-rating significantly in accordance with my feelings.
Another reason why I rated Shockproof so low was because this unethical parole officer (who was a man in his mid-30s) was also something of a momma's boy, still living at home and very much tied to his clinging mother's strangulating apron-strings. (Like, give me a break, already!)
Anyways - With all of the above-mentioned nonsense aside, Shockproof's "Lovers-On-The-Run" story really wasn't that good to begin with.
From its absurd and contrived story-line, to its wooden performances, to its goofy dialogue and mediocre direction, I found Shockproof's "She's-no-good/He's-no-good" premise, for the most part, much too laughable (unintentionally), far too often. This film really took itself way-way too seriously for its own good.
And, along with all of its other many fluky flaws and annoying inconsistencies, this quickly reduced Shockproof to being one of the most unsatisfactory B-Movie Thrillers that I've seen in a mighty long-long time.
Thank goodness that this utter nonsense-of-a-movie had a running time of only 80 grate-on-your-nerves minutes!
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