Executive Suite (1954).

Executive Suite(1954). Drama. Cast: William Holden, Barbara Stanwyck, Fredric March, and Walter Pidgeon. Directed by Robert Wise and produced by John Houseman from a screenplay by Ernest Lehman based on the novel of the same name by Cameron Hawley. The cinematography was by George J. Folsey and the costume design by Helen Rose. It is one of the few Hollywood films that does not have music.

The story begins when Avery Bullard, president of the Tredway Corporation, dies at a important time for the company. The board of directors must now vote for his replacement. First in line is, Loren Shaw, who is more concerned with the profits than the company. He has the backing of one of the shareholders, Julia Tredway, who was in love with Bullard before he died. Board member George Caswell, offers his support in return for certain favors.

The only real person qualified for the position is, Vice President of Design, Don Walling, who is not to sure he wants the job. He would rather spend his time developing new products. Walling is supported by Treasurer Frederick Alderson. Jesse Grimm, is opposed to Walling for reasons of his own, while Walt Dudley is being blackmailed by Shaw, who caught him having an affair.

Will Walling, win over the board of directors and become the new president of the Tredway Corporation?

A couple of the stand out performaces in the film for me are: Shelley Winters, who plays the part as Douglas' girlfriend who wishes he had more of a backbone. Barbara Stanwyck, also has a memorable scene with William Holden, when the sparks begin to fly. I thought the film looked very realistic with the wonderful shots of, Manhattan. What the film has to say about big business, I think may hold true even today.



Fun Facts:

Producer John Houseman wanted Henry Fonda for the role of McDonald Walling. Fonda turned him down to star in a Broadway musical that never reached the stage.

The entire story takes place during the 24 hour period from Friday afternoon, June 19 1953 to Saturday afternoon, June 20 1953.

Shelley Winters (August 18, 1920 – January 14, 2006), her career spanned over fifty years until her death in 2006. Two-time Academy Award winner, Winters is probably most remembered for her roles in A Place in the Sun, The Big Knife, Lolita, The Night of the Hunter, Alfie, and The Poseidon Adventure.

Shelley was a cousin of actor Tony Curtis, she suggested that he try acting, and was helpful in getting him started in the theater when he got out of the Navy after WWII.

Winters originally broke into Hollywood as "the Blonde Bombshell", but quickly tired of the role's limitations. She washed off her makeup and played against type in the film, A Place in the Sun. It was her performance in A Place in the Sun (1951), that first brought a nomination for the Academy Award for Best Actress.

Shelley soon became popular as a character actress. She studied in the Hollywood Studio Club and in the late 40s, she shared the same apartment with, Marilyn Monroe.

Her first movie was, What a Woman! (1943). Winters first achieved stardom with her breakout performance in the film, A Double Life(1948). After which she landed leading roles in the films, The Great Gatsby (1949) and Winchester 73 (1950).

Another one of her best known films was, Night of the Hunter(1955), with Robert Mitchum and Lillian Gish. She won an Oscar for Best Supporting Actress for, The Diary of Anne Frank (1960), and another award, in the same category, for A Patch of Blue in(1966).

Notable later roles include: Lolita,Alfie, Harper, The Poseidon Adventure, Belle Rosen (for which she received her final Oscar nomination) and in, Next Stop, Greenwich Village (1976).

Winters suffered with her weight later in life, frequently stating that it was a marketing tool, since there were plenty of normal-weight older actresses but fewer overweight ones and her weight would help her to find work .

Witness For The Prosecution(1957).

Witness For The Prosecution(1957). Courtroom drama, based on a short story by Agatha Christie dealing with the trial of a man accused of murder. Cast: Tyrone Power, Marlene Dietrich, and Charles Laughton, and features Elsa Lanchester, Laughton's wife. Director: Billy Wilder.

Just after leaving the hospital Sir Wilfrid Robarts, returns to his office with his overbearing nurse, Miss Plimsoll, when Mayhew and his client, Leonard Vole, come to see him about an important case.

Mayhew believes that Leonard will be charged with the murder of wealthy widow Emily Jane French because it was well known that he was with her the day she was killed. Leonard says that he was in the army and stationed in Germany, where he met his wife German actress, Christine.

Leonard says that he is had been trying to find someone to help finance his new eggbeater invention and that is when he first met with Mrs. French. He had hoped that Mrs. French would finance his work.

Later, Sir Wilfrid questions Leonard on what happened on the night of the murder and his relationship with Mrs. French. Leonard does not change his story, making Sir Wilfrid believe he is innocent.

The case becomes complicated when Vole's only alibi is his wife, who agrees to be a witness for the prosecution.

Dietrich character is very calculating and she and Tyrone are the star attractions, but... Charles Laughton steals the show with his whit. The plot has many twists 'n' turns.. as it always does in a good Agatha Christie story.


Fun Facts:

This was the final film for Tyrone Power.

This was Una O'Connor's last big screen motion picture.

William Holden was the first choice for Leonard, but he was unavailable. Other actors considered for the role included Gene Kelly, Kirk Douglas, Glenn Ford, Jack Lemmon, and even Roger Moore. Eventually, Tyrone Power accepted the role when he was offered both Witness for the Prosecution (1957) and Solomon and Sheba (1959). Before he could complete Solomon however, Power had a fatal heart attack and was replaced by Yul Brynner.

Ava Gardner and Rita Hayworth were also considered for the role of Christine Helm.

Elsa Lanchester (28 October 1902 – 26 December 1986).Studied dance as a child and began performing in theatre and cabaret. She met the actor Charles Laughton in 1927, and they were married two years later. She began playing small roles with Laughton in, The Private Life of Henry VIII (1933).

Her role in, Bride of Frankenstein (1935), came to be one of the roles most closely associated with her throughout her life. She was nominated for the Academy Award for Best Supporting Actress for, Come to the Stable (1949) and Witness for the Prosecution (1957), the last of twelve films in which she appeared with Laughton. Following Laughton's death in 1962, Lanchester made appearances in Disney films: Mary Poppins (1964), That Darn Cat! (1965) and Blackbeard's Ghost (1968). The horror film, Willard, (1971) and one of her last roles was in, Murder By Death (1976).

"Torrent” (1926)

“Torrent” (1926) is a silent romantic drama starring Ricardo Cortez, Greta Garbo and Gertrude Olmstead. Directed by Monta Bell and adapted from the novel by Spanish author, Vicente Blasco Ibanez, “Entre Naranjos,” this film is a story of lost love and missed chances. Leonora Moreno, a peasant girl, played by Greta Garbo, and Rafael Brull, played by Ricardo Cortez, have grown up in the same Spanish village. Although they are in love, Rafael is from an aristocratic family and dominated by his mother, Dona Bernarda Brull, played by Martha Mattox. Dona Bernarda forbids the relationship causing Leonora’s family to be kicked out of their home. Leonora’s father, Don Pedro Moreno, played by Edward Connelly, decides to take his daughter off to Paris where her trained voice is sure to be a hit. Meanwhile, her mother, Dona Pepa Moreno, played by Lucy Beaumont, is left behind to work as a maid for Dona Bernarda. After Leonora leaves for Paris, Dona Bernarda convinces Rafael that Remedios Matias, played by Gertrude Olmstead, would be the ideal wife for him mainly because her father, Don Matias, played by Mack Swain, has grown rich in hog raising, and he becomes engaged to her. While living in Paris, Leonora becomes a famous opera singer, La Brunna, and develops a reputation for being a loose woman. When Leonora returns to her home to see her mother, she and Rafael meet again and their love is rekindled. Unfortunately, Dona Bernarda separates them again, and he marries Remedios. Years later, Leonora and Rafael meet again. She is still beautiful, but he looks older than his years and is an unhappily married man with two children. The ending is surprising.











“Torrent” (1926) was Garbo’s American film debut and it helped establish her as a big star. With magnificent sets and costumes, this was MGM filmmaking at its best. The special effects must have been quite remarkable for their time. With no language barrier to deal with, the Swedish actress was able to play a Spanish peasant turned temptress with no disbelief from the audience. Handsome Ricardo Cortez was quite convincing as a Spaniard and does an admirable job appearing foolish and growing old ungracefully. One of the things I liked most about the film was the use of sepia, blue, lavender and red hues throughout. I liked the scene where Cortez braves the torrent in a row boat trying to rescue Leonora. One of my favorite scenes is when a lovesick Cortez wanders back to Garbo’s home and tells her he needs her and they dissolve into each other’s arms. The scene in which Cortez and Garbo are lying near the orange blossoms is breathtakingly romantic and very well done. “Torrent” is worth watching just for its stunning cinematography and Garbo’s impressive American film debut.

Ricardo Cortez, who looked like Latin Lover Rudolph Valentino, was invented, named and groomed to become a direct rival. Ironically, he wasn’t Latin at all, having been born Jacob Krantz to an Austrian Jewish family in New York City. He became starstruck growing up in Manhattan, began playing bit parts in New York-based films, and after moving to Hollywood, his appearance in a dance contest won him a Paramount contract. Jesse Lasky of Paramount was in the audience and noticed how much Krantz resembled Valentino. Lasky immediately offered Krantz a contract and began preparing him to take Valentino’s place. Lasky’s secretary picked the name Ricardo Cortez when it was decided the young actor needed a Latin name. Krantz stuck with his new name and went on to make ninety pictures from 1924 to 1958, all under the name of Ricardo Cortez. He also achieved a considerable degree of prominence during the silent era with films such as “Argentine Love” (1924), “The Spaniard” (1925), “The Swan” (1925) and “Torrent” (1926). Cortez moved easily into talkies and starred in such films as “The Maltese Falcon” (1931), “Symphony of Six Million” (1932), “Midnight Mary” (1933) and “Torch Singer” (1933). When Cortez retired from the film business, he went to work as a stockbroker on Wall Street. Cortez died in New York City on April 28, 1977. He was 76 years old. He was the brother of noted cinematographer Stanley Cortez (born Stanislaus Krantz).


Dona Bernarda has in mind Remedios Matias, played by Gertrude Olmstead, as a daughter-in-law mainly because her father, Don Matias, played by Mack Swain, has grown rich in hog raising.

A Life of Her Own(1950).

A Life of Her Own(1950). Directed by George Cukor. Cast: Lana Turner, Ray Milland and Ann Dvorak

Aspiring model Lily Brannel James, travels to New York City to apply to the Thomas Caraway Model Agency. After she is hired by Tom Caraway, Lily quickly become friends with former top model, Mary Ashlon, who shares with her the rules of the business. Mary plans a double date for her and Lily with advertising executive Lee Gorrance and lawyer Jim Leversoe. At the club, Mary drinks a little too much, Lily takes her home and Mary gives her a good-luck porcelain slipper. Later that same night, Mary takes her own life..

The following day, Lee visits Lily, but he shows no feeling over Mary's death. Lily goes on to become successful model continuing her a friendship with Jim, who introduces her to, Steve Harleigh, a Montana copper-mine owner on a business trip to New York. Although, Steve is married they begin seeing each other. When Steve is ready to head back to Montana, both he and Lily realize they have fallen in love, but know nothing can come of it .




Some time later, Steve returns to New York and against Jim's advice contacts Lily. Steve tells Lily he will be working almost full-time in New York, Lily rents a larger apartment where they can spend time together. Before long Steve says that his wife Nora is coming to visit him for his birthday. Lily wants him to tell Nora that he no longer loves her, but Steve confesses that Nora is an invalid because of a car accident for which he is responsible. Lily has to decide if her own happiness is worth destroying the life of another woman.

Lana Turner is excellent in this film and has some wonderful dramatic scenes. Margaret Phillips, as his wife, also does a wonderful performance.

Fun Fact:

Howard Keel, Cary Grant, George Murphy, and James Mason were among those considered for the role of Steve Harleigh, which eventually went to Wendell Corey, who worked on the production through mid-February 1950 but then allegedly asked to be released from the film because he felt he wasn't right for the role. Other sources claimed he was dismissed at the request of Turner and director George Cukor following an argument between the two stars. He was replaced by Ray Milland.

Ann Dvorak (August 2, 1911 – December 10, 1979), she was raised in the business that would later make her a star. Her father, Edwin McKim worked as a director for the Lubin Studios and her mother, Anna Lehr, was a silent film star. The couple split when Ann was four, and she and her mother moved to Hollywood.

As a child, she appeared in several films. She began working for MGM in the late 1920s as a dance instructor and gradually began to appear on film as a chorus girl. Her friend Joan Crawford introduced her to Howard Hughes. She performed in the pre-Code films: Scarface (1932),  Three on a Match (1932), with Joan Blondell and Bette Davis, Love Is a Racket (1932), and opposite Spencer Tracy in, Sky Devils (1932).

Known for her style and elegance, she was a popular leading lady for Warner Brothers during the 1930s. She appeared with Perry Mason in, The Case of the Stuttering Bishop (1937). She also acted on Broadway. With her then-husband, British actor Leslie Fenton, Dvorak travelled to England where she supported the war effort by working as an ambulance driver and continued to perform in many British films.

“The Show- Off”(1926)

“The Show- Off”(1926) is a silent comedy drama starring Ford Sterling, Lois Wilson, and Louise Brooks. Directed by Malcolm St. Clair, this is the first of the four film adaptations of the George Kelly play. The story begins with Aubrey Piper, played by Ford Sterling, posing as a railroad executive even though he is really just a $30 a week clerk. He manages to convince a girl from a nice family, Amy Fisher, played by Lois Wilson, that he is rich and successful. Amy’s mother and father dislike Aubrey, but Amy loves him dearly despite his boastfulness. After the wedding, Amy realizes that Aubrey is not rich nor famous. They move into a small apartment, but life is tough because they have trouble paying the bills. When Amy’s father dies, the couple decides to move back into her mother’s home. Surprisingly, Aubrey wins a car in a raffle. Unfortunately, he picks up the car not knowing how to drive and causes some accidents by driving in the wrong lane. At Aubrey’s court hearing the judge hands him a $1,000 fine. Amy’s brother, Joe Fisher, played by Gregory Kelly, pays it with the $1,000 check his father gave him before he died to pay the mortgage. Joe actually prefers losing the house than to have a family member locked up in jail. What happens next is interesting and surprising.


Even though “The Show-Off” is fairly predictable, it is worth watching just to take a look at the legendary and beautiful Louise Brooks in a supporting role as the girlfriend of Joe Fisher, played by Gregory Kelly. I liked the scene where Clara, played by Louise Brooks, catches Aubrey counting portions during the prayer before dinner. I also liked the scene in which Joe and Clara reacted to the death of Pop Fisher. No subtitles were needed because their expressions said it all. Ford Sterling, best known as the chief of the Keystone Cops, gives a wonderful performance as the boastful and pompous Aubrey Piper. His body language and facial expressions bring his character to life. He was certainly a natural comedian. Lois Wilson, who was one of the most dedicated actresses of the silent screen, gives a sympathetic performance as Aubrey’s loving wife.


Born Mary Louise Brooks in Cherryvale, Kansas, on November 14, 1906, she began her entertainment career as a dancer appearing with the Ziegfeld Follies as well as the Ruth Saint Denis’ dance company. Signing with Paramount, Louise’s film debut was in “The Street of Forgotten Men” (1925) in an uncredited role. In 1926, Louise made six pictures at Paramount: “The American Venus,” “Love ‘Em and Leave ‘Em,” “A Social Celebrity,” “It’s the Old Army Game,” “The Show-Off,” and “Just Another Blonde.” Embittered over studio politics and longing for a new adventure, Louise shocked the industry by abandoning Paramount to work with director G. W. Pabst in Berlin, Germany. When Pabst saw Louise in Howard Hawks’ “A Girl in Every Port” (1928), he was convinced that she was ideal for the role of Lulu in “Pandora’s Box” (1929). At the time Louise was involved with a Paramount contract and was not available. Pabst settled on Marlene Dietrich, but before shooting began, a cable came from Paramount saying that Louise was willing to play the role. The film was not well liked in Germany, where there was resentment in having an unknown American play an important German dramatic role. In the United States, the film had no chance at all. It was reedited by its importers to make it seem that Lulu was reformed by joining the Salvation Army. Ironically, it was Louise’s waif like role as the doomed flapper Lulu that made her an international sensation and an icon of the Jazz Age. Her sleek, bobbed hairstyle was talked about in every film and fashion magazine and countless women copied it. In 1929, Louise reunited with Pabst and starred in “Diary of a Lost Girl” (1929), a silent study of a troubled young woman that would in time gain cult status. In 1930, Louise Brooks starred in “Miss Europe,” a French film released in both silent and sound versions and titled “Prix de beaute” in its native land. After being cast in B pictures by studio executives as punishment for her defiance, Louise retired from film in 1938. She returned to Kansas and tried teaching dance, but she was not suited for the job. Louise moved to New York City where she worked as a sales clerk at Saks. She lived in obscurity and destitution until former lover, Bill Paley, the founder of CBS, set up a monthly stipend that supported her for the rest of her life. In the 1950’s, French film historians discovered Louise in Rochester, New York. With the help of such film writers as James Card and Kenneth Tynan, she became a sought after film historian and accomplished writer. Louise Brooks died on August 8, 1985. She was 78 years old.

The Talk of the Town(1942).

The Talk of the Town(1942). Cast: Cary Grant, Jean Arthur, Ronald Colman, Edgar Buchanan, and Glenda Farrell. The movie was adapted by Dale Van Every, Irwin Shaw and Sidney Buchman from the story by Sidney Harmon. It was directed by George Stevens.

Mill worker and political activist Leopold Dilg is accused of burning down a mill and causing the death of the foreman. In the middle of his trial, Dilg escapes from jail and finds shelter in a house owned by his old friend Nora Shelley.



Shelley has the house rented for the summer to law Professor Michael Lightcap, who plans to write a book. When Dilg is seen by Lightcap, Shelley introduces him as her gardener. Lightcap and Dilg quickly become friends.

Over some things that had been said during one of their lively discussions over politics, Lightcap becomes suspicious of what is really going on and begins to investigate. He finds that the former foreman is still alive and hiding in Boston. Dilg is persuaded to return to town and admit his guilt. Will Lightcap convinces Dilg give himself up and be set free?

The acting is very good. Cary Grant, plays a very different roll than I'm used to seeing him in..  Ronald Coleman is also good as his rival and Jean Arthur is great she steals scene after scene.

Fun Fact:
Lloyd Bridges' tiny role was one of 20 film appearances he made in 1942 .

Glenda Farrell (June 30, 1904 – May 1, 1971), came to Hollywood towards the end of the silent era. Farrell began her career with a theatrical company at the age of 7. She played Little Eva in, Uncle Tom's Cabin.

She was in the cast of ,Cobra and The Best People with actress Charlotte Treadway, in 1925.

Farrell was first signed to a long-term contract by First National Pictures in July 1930. She was given the feminine lead in, Little Caesar.

Warner Brothers signed her to re-create on film the role she played in, Life Begins on Broadway. Farrell worked on parts in twenty movies in her first year with the studio. She was known a the wise-cracking, dizzy blonde of the early talkies, along with  Joan Blondell, with whom she often would be paired with.

She went on to perform in, Little Caesar (1931) opposite Edward G. Robinson, I Am a Fugitive from a Chain Gang (1932), Havana Widows (1933) with Blondell, Bureau of Missing Persons (1933) opposite Pat O'Brien, Mystery of the Wax Museum (1933) opposite Lionel Atwill and Fay Wray and The Big Shakedown (1934) with Bette Davis.

She became one of Warner Brothers most popular actresses of the 1930s, solidifying her success with her own film series, as Torchy Blane, "Girl Reporter". In this role Farrell was promoted as being able to speak 400 words in 40 seconds. Farrell would portray the character Torchy Blane in eight films, from 1937 to 1939 when the role was taken over by Jane Wyman.

In 1937 she starred opposite Dick Powell and Joan Blondell in the Academy Award nominated Lloyd Bacon and Busby Berkeley directed musical Gold Diggers(1937).

When her Warner Brothers contact expired in 1939 she focused more on her stage career once again. She said that working in plays gave her more of a sense of individuality whereas in films you get frustrated because you feel you have no power over what you're doing.

Farrell went out of vogue in the 1940s but made a comeback later in life, winning an Emmy Award in 1963, for her work in the television series, Ben Casey.

The Locked Door (1929).

The Locked Door(1929). Drama film featuring Barbara Stanwyck in her second film appearance, first starring role, and first talking picture. It was based on the play The Sign on the Door by Channing Pollock. Other cast members: Rod La Rocque, William "Stage" Boyd, and Betty Bronson.

Frank Devereaux, takes Ann Carter, his father's secretary, to a floating party and locks her in a private dining room. The club is raided, and their picture is taken by a news photographer. Anne leaves her job and gets another with Lawrence Reagan, whom she marries and lives happily until Devereaux begins to visit her sister in law, Helen. Reagan is informed by Dixon that Devereaux ruined his home and during an argument between Reagan and Devereaux, the latter is accidentally shot. Ann, who is found locked in the room with the body, confesses to the crime then Reagan admits his guilt. Will Devereaux, reveal the actual circumstance?

BARBARA STANWYCK was never too fond of her first talkie and it's easy to see why. But, it is fun to see Barbara in one of her first performances.

Betty Bronson (November 17, 1906 – October 19, 1971), began her film career at age of sixteen with a small part in the film, Anna Ascends. At seventeen, she had an interview with J. M. Barrie, author of, Peter Pan. This film role had been sought by both Gloria Swanson and Mary Pickford, but Bronson won the role. She starred with Mary Brian (Wendy Darling) and Esther Ralston (Mrs Darling) the three of them became very close friends for the rest of their lives. She had a major role in the 1925 silent film adaptation of, Ben-Hur. In 1926, she starred in another Barrie story, A Kiss for Cinderella. Her first sound film was in, The Singing Fool (1928) and she also starred in the follow-up film, Sonny Boy (1929). She was the leading lady opposite Jack Benny in the romantic drama, The Medicine Man (1930). Bronson continued film roles until 1933 when she married Ludwig Lauerhass. She did not appear in films again until, Yodelin' Kid from Pine Ridge (1937), starring Gene Autry. She resumed acting in the 1960s appearing in episode television roles and feature films. Her last film role was an uncredited part in the television biopic, Evel Knievel (1971).

TO SIR, WITH LOVE (1967)

During my formative teenage years, I developed a fondness for the British cinema of the mid-to-late 1960s. These films spanned several genres: the serious spy film (The Deadly Affair); social satire (Nothing But the Best); quirky thriller (Bunny Lake Is Missing); and pop culture comedy (Georgy Girl). The only thing they shared was a healthy dose of cynicism and impeccable British casts. So, it seems ironic that one of my favorite films of this period is an upbeat, almost sentimental, tale starring a mainstream American actor.

In a role seemingly tailored for him, Sidney Poitier plays Mark Thackeray, a young engineer looking for a job. Unable to find one in his chosen profession, he accepts temporary employment as a teacher in an inner-city London school. It’s a bleak situation—the students are out of control, most of the teachers are burned out, and the school reflects the poverty of the surrounding neighborhood.

Thackeray’s initial attempts to reach his students fail miserably. He finally concludes that the teens act childish because they’re treated as children. He starts showing them respect and demands the same of them. He tosses out the curriculum and teaches his students about life. In the end, Thackeray becomes a teacher and his students become adults.

Cynics will no doubt criticize To Sir, With Love as simple-minded and obvious. Perhaps, it is, but the story is put across with such conviction and professionalism that it’s impossible to ignore its many charms. In particular, a subplot involving an attractive student (Judy Geeson) who develops a crush on Thackeray is handled impeccably. Its only flaw is that Poitier and Geeson have such a natural chemistry that one almost wishes a romance could work out between them (but then, To Sir, With Love would have been a very different film).

The film’s theme, sung by Lulu (who plays one of the students), became a huge hit. Director Clavell must have recognized the song’s potential—it’s heard multiple times through the picture. In one scene, it’s played over a montage of Thackeray taking his students to a museum. The scene looks very much like the world’s first music video.

Sidney Poitier is one of my favorite actors of the 1960s, with memorable performances in films like A Patch of Blue, Lilies in the Field, and In the Heat of the Night. Judy Geeson went on to play a major role in the vastly entertaining British miniseries Poldark and Poldark II. When my wife and I were in London in 1987, we saw Lulu in a production of the stage musical Peter Pan. She played Peter and she still sounded great.

* Sorry for the re post. Something went screwy when I deleted a video that was no longer available. I' am glad that I did not loose the article to cyber land. *

Caged(1950)

Caged(1950). The movie was adapted by Virginia Kellogg from the story Women Without Men by Kellogg and Bernard C. Schoenfeld. It was directed by John Cromwell. Cast: Eleanor Parker, Agnes Moorehead, Ellen Corby, Hope Emerson, Betty Garde, Sheila MacRae, Jan Sterling, Lee Patrick, Jane Darwell and Gertrude Hoffman.

Among the new prisoners at the Women's State Prison is 19 year old Marie Allen, who has been sentenced as an accessory in a armed robbery where her husband was killed. During Marie's physical they find out that she is pregnant, the warden, assigns her to work in the laundry. When the matron of Marie's cell block learns that Marie has no money, she reassigns her to scrubbing floors. Marie is befriended by Smoochie, Kitty Stark and Claire, who believe most of the women are in prison because of men.

Marie is still in jail when the baby is born, she hopes that her mother will take the child until she is paroled.

Kitty invites Marie to join her shoplifting racket when she gets out, telling her that even if she is paroled, she will be forced to stay in jail until she is offered a job. Marie, turns her down. One of the convicts then has a breakdown and when June, is denied parole, she hangs herself.

After Marie goes into labor, the doctor is disgusted by the prison conditions and goes to the medical board. The Warden is aware of the matrons treatment of the women, but her efforts to have the matron fired are always stop by her political friends. Her request for teachers and a psychologist are also denied by the prison board.

Marie's mother refuses to take her baby, so she puts him up for adoption and as Marie's parole hearing nears, Kitty renews her job offer. Even though the matron gives favorable recommendation, Marie's parole is denied. Will her experience in prison change her from a Innocent young girl into a hardened convict?

I thought this film was full of wonderful performances with great black and white filming and lighting. It is a very engaging film, you will find yourself getting wrapped up in the characters and how they choose to cope in unbearable circumstances.




Gertude Hoffmann, began her film career in Germany in 1918, aged 40, but made her American film debut in 1933. She made quite a few films over the next 20 years, though many of her parts were unbilled. She played Mrs. Odets on Gale Storm's My Little Margie, a situation comedy that alternated between CBS and NBC from 1952 to 1955. The series was created by Frank Fox and produced at Hal Roach Studios by Hal Roach, Jr. and Roland D. Reed. My Little Margie premiered on CBS as the summer replacement for I Love Lucy on June 16, 1952.

She also performed in films: Alfred Hitchcock's Foreign Correspondent, which was nominated for Best Picture Oscar in 1941, as well as The File on Thelma Jordon (1950), Caged (1950), and The War of the Worlds (1953).

Ace in the Hole(1951)

Ace in the Hole(1951). Cast: Kirk Douglas. This film marked a series of firsts for Billy Wilder: it was the first time he was involved in a project as a writer, producer, and director; his first film following his breakup with writing partner Charles Brackett, with whom he had worked on The Lost Weekend and Sunset Boulevard.

As reporter Chuck's car is being towed through Albuquerque, New Mexico he passes by the Sun Bulletin newspaper office, he decides to apply for a job. Boot offers him a job on condition he stay clean and sober. Chuck accepts Boot's terms, believing his next big break will soon come. A year later, Chuck is still working at the Bulletin when Boot assigns him and Herbie Cook to cover a rattlesnake hunt. Herbie and Chuck stop for gas at a trading post and learn that Leo Minosa while looking for Indian artifacts, is trapped in a cave in a nearby Indian cliff dwelling. Chuck thinks that this maybe the BIG story he is looking for. When he arrives Chuck goes into the cave and finds Leo, trapped under a heavy plank. While Chuck tries to comfort Leo he also takes a photo of him. He returns to the trading post and calls Boot and says that he has a front page story. Chuck then arranges an interview with Leo's wife Lorraine. He finds out she is planning on leaving Leo, Chuck, thinking that her leaving will hurt his story, he talks her into staying.

The next day, after Chuck's first story appears in the Bulletin , the trading post is over run by visitors. After hearing from Dr. Hilton, that Leo can survive a week in the cave, Chuck convinces the Sheriff to use his position to prolong the rescue.

As the rescue team begins drilling the next day, the area is flooded with reporters and tourists. Chuck tells Herbie that he is quitting the Bulletin . When other reporters complain about Chuck's position, the sheriff tells them that he has deputized Chuck and will not allow anyone else inside the cave for safety reasons.

The hardest part of the movie for me is when Chuck goes in to reassure Leo and he calls him his best friend. At the trading post, Chuck runs into Boot, who says that he is on to him.. Will Chuck do the right thing before it is too late?

A wonderful performance by Kirk Douglas manipulating events at the expense of the victim seems inhuman, but Douglas' performance makes it believable. This movie might be considered a Film Noir, even though it takes place under the hot, Arizona sun.



Fun Facts:
The studio constructed a replica cliff dwelling at a cost of $30,000. The set was located behind the Lookout Point Trading Post on U.S. Route 66, west of Gallup, New Mexico. After filming was completed, the set was left intact and the owner of the trading post used it to draw tourists to his store.

Residents of Gallup, New Mexico were hired as extras. They were paid 75 cents an hour for a ten-hour day. Extras earned an additional three dollars if they could bring an automobile to the set.

Jan Sterling, she made her film: Tycoon, billed as Jane Darian. Ruth Gordon insisted she change her stage name to Jan Sterling. Her next film was Johnny Belinda (1948). Alternating between films and television, Sterling performed in television series during the 1950s, and played film roles in Caged (1950), Mystery Street (1950), The Mating Season (1951), Ace in the Hole (1951), Flesh and Fury (1952), The Human Jungle (1954), and Female on the Beach (1955). Often cast as harden characters, she played a more sympathetic character in Sky Full of Moon (1952). In 1950, she was cast as Ruth in the western series The Marshal of Gunsight Pass. In 1954 Sterling was nominated for an Academy Award and won a Golden Globe Award for Best Supporting Actress for her performance in The High and the Mighty. Later that year, she travelled to England to play the role of Julia in the first film version of George Orwell's 1984. During the following years, she performed in movies, Slaughter on Tenth Avenue, Kathy O, and The Female Animal. In 1963, she guest starred as Nurse Murdoch in the episode "Millions of Faces", Breaking Point. In 1967, she and Tisha Sterling performed in the episode "Eleven Miles to Eden" a western series, The Road West. In late 1968, she began portraying the role of 'Miss Foss' in the soap opera, The Guiding Light. She retired from films for the stage in 1969 and returned to television in 1979 in the miniseries Backstairs at the White House.