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The Company She Keeps (1951)

Approved | | Drama | 1951 (UK)
Follows the progress of a female ex-convict as she tries to rebuild her life after being released from prison.

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Cast

Complete credited cast:
...
Joan
...
Diane
...
Larry
Fay Baker ...
Tilly
...
Judge Kendall
...
Mr. Neeley
...
Jamieson
...
Smitty
Irene Tedrow ...
Mrs. Seeley
Marjorie Wood ...
Mrs. Haley
Marjorie Crossland ...
Mrs. Griggs
Virginia Farmer ...
Mrs. Harris
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Storyline

A female ex-convict meets a handsome man and they begin seeing one another. Jeopardizing their relationship is her not telling him she was in prison and he not revealing his involvement with her parole officer. Written by Daniel Bubbeo <dbubbeo@cmp.com>

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Plot Keywords:

ex convict | parole | See All (2) »

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

Country:

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Release Date:

1951 (UK)  »

Also Known As:

A Carne e a Alma  »

Company Credits

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 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

At one point 6-months-old Jeff Bridges - playing Diane's (Jane Greer) infant son - was supposed to cry. To get him to cry Jeff's mother suggested they pinch him. (source is Jeff Bridges interview in the Nerdist podcast posted 15 July, 2013) See more »

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User Reviews

 
Jane Greer best thing about soft-hearted "sequel" to Caged
2 March 2002 | by (Western New York) – See all my reviews

The Company She Keeps might be viewed as John Cromwell's soft-hearted "sequel" to his great Caged of the same year (some of the same cast members reappear in small parts in both). Taking over the Eleanor Parker role -- the embittered parolee with a chip-on-the-shoulder attitude -- Jane Greer finally goes "freeside." Lizabeth Scott meets her at the train, not as a mentor into the world of vice but wasted as Greer's saintly parole officer. Greer makes it plain that she's none too happy with the constraints (a night-shift job, frumpy clothes, no drinking) imposed upon her, and promptly sets her hat for Scott's fiance Dennis O'Keefe, who tumbles right into it.

And this is where Ketti Frings' script loses whatever edge it had. The hard, manipulative Greer goes soft around the edges, conflicted and vacillating. Scott, meanwhile, magnanimously cedes O'Keefe to her rival and continues to advocate on her behalf with redoubled passion (an opposite change of heart would have furnished welcome friction).

Luckily, a few goblins still hover in the shadows, and, in a brief scene set in Los Angeles' municipal lockup, Cromwell manages to reprise some of the black magic of Caged. But the syrupy social messages and Frings' earnest kind-heartedness almost sink the movie, which nonetheless preserves one of Greer's rare appearances in the noir cycle, particularly savory at the movie's start and near its end. Just don't expect another Kathie Moffat from Out of the Past.


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