6.6/10
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Shockproof (1949)

Approved | | Crime, Drama, Film-Noir | 25 January 1949 (USA)
After having served 5 years in prison, for killing a man while defending her disreputable lover, Harry (John Baragrey), Jenny Marsh (Patricia Knight) is set for parole. Her parole officer, ... See full summary »

Director:

Douglas Sirk
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Cast

Complete credited cast:
Cornel Wilde ... Griff Marat
Patricia Knight ... Jenny Marsh
John Baragrey ... Harry Wesson
Esther Minciotti Esther Minciotti ... Mrs. Marat
Howard St. John ... Sam Brooks
Russell Collins ... Frederick Bauer
Charles Bates ... Tommy Marat
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Storyline

After having served 5 years in prison, for killing a man while defending her disreputable lover, Harry (John Baragrey), Jenny Marsh (Patricia Knight) is set for parole. Her parole officer, Griff Marat Cornel Wilde is determined to make Jenny go straight. For lack of other prospects Griff finds Jenny a job in his own home, something totally against regulations. At first, Jenny still has feelings for Harry, but as Griff shows her more compassion and care, she falls in love with him - which Harry seems to encourage, because he has plans to crush Griff and his dreams of political office, and the situation soon becomes even more dangerous... Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

He Thought He Was Shockproof!

Genres:

Crime | Drama | Film-Noir

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

25 January 1949 (USA) See more »

Also Known As:

The Lovers See more »

Company Credits

Production Co:

Columbia Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Opening credits: The characters and incidents portrayed and the names used herein are fictitious and any similarity to the name, character or history of any person is entirely accidental and unintentional. See more »

Quotes

Jenny Marsh: I'm no longer asking you to say goodbye. I'm just saying it!
See more »

Crazy Credits

Following the opening credits the camera pans onto the curb edge of the road which reads HOLLYWOOD BLVD. See more »

Connections

Referenced in Tis tyhis ta grammena (1957) See more »

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User Reviews

 
"Stop with the melodrama!" touché
22 February 2010 | by Quinoa1984See all my reviews

They say it's the journey, not the destination, that usually counts with stories. In the case of Shockproof it's good to just focus on the journey, in all its B-movie-ness and, yes since it is Douglas Sirk, melodrama, because the destination kind of stinks. The film's story concerns a beautiful blonde parolee played by Patricia Knight who is put into the watchful eye and soon enough loving arms of her parole officer, Cornell Wilde. She's been wanting to get back together with her former lover, a gambler-hustler named Harry Wesson, who by the look of the guy is sleazy but perhaps not too bad a shake for a 'dame' like Knight plays. But the parole officer wants a better life for her, and that she knows it too. Soon she does, after some persistence, fall for Griff, but at a price when another character gets (preumably) murdered after a gunshot.

It becomes a lovers-on-the-run story, and, not to quote Harry's own line about the melodrama I mention above, this twist does bring some melodrama with it as the characters try to evade the law, cross into Mexico, go back into the states and Griff becomes an oil-drill worker. But the main problem of being on the lam catches up to them, and finally a decision is made. It's around here, in just the last few minutes, that the film really crumbles into predictability (and, to be fair, it wasn't Fuller's idea as the producer rewrote the script before filming). The acting and the script up until that point, however, does deliver on the promise of a simple premise. There's nothing terribly special about the story, but it works on its own terms as a tale of a love-triangle gone awry. We know the situation might be different if a character did something smarter, or did something more drastic or if, say, Harry went more into an actual criminal role and just ran off with Jenny to start with after she got out of prison.

But as it stands the performances are just fine- even the one-note crooning of the blind mother of Griff's who knows what she knows even without seeing, a real Fuller caricature if I ever saw one- and when it comes off like a real film-noir, with edge and believability, both of the legends Sirk and Fuller can get credit. It's no great shakes, but it passes 80 minutes by with some rich emotions and a, with a few exceptions in some scenes, solid dramatic turns and directions made by the characters.


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