Shockproof

Not so much a noir as a noir-esque romantic melodrama, and not up to the level of the best from either Sirk or Fuller. The story could have gone one of two ways, and it chose the less interesting path. However, Wilde and Knight (actual spouses) handle their performances quite well, and play off each other with conviction and chemistry. The script has some nice touches, the photography is pretty sharp, and the supporting roles are good. It's certainly a watchable movie, but rather bland and easy.

Douglas Sirk's direction is smooth and elegant and Samuel Fuller's screenplay is half-formed and half-crazy, and the two don't mix well together. Wilde and Knight are both good, but it doesn't help much.

A bitter woman on parole and her hopeful parole officer. It's a bit corny at times, but the performances are good enough to sell it and there is some good drama to make up for it. I'm not sure how I feel about the ending, it's a bit contrived, but I guess any ending would have felt that way.

Viewed June 27, 2021. Douglas Sirk almost always composes his shots and moves his camera along hard lines — the railing of a staircase, the two table legs between which a recently shot man happens to land. This environment full of rigid, angular structures is an effective way to visualize this story about doomed lovers, the implication being that their actions are predetermined along these types of lines.

Melodramatic bordering on Soap Opera. The story started out well and showed a lot of promise early on but it went down hill pretty fast. I couldn't understand why any of the characters would even like each other let alone fall in love and I know this was only 80 minutes but it seemed much closer to a long two hours.

A Samuel Fuller written movie directed by Douglas Sirk, not the most logical pairing because of the opposing sensibilities of these two filmmakers. And it does result in the weakest film for both. Problem is that the movie never really sells why Griff falls for Jenny. I'm not sure if it is a deliberate choice to leave her feelings towards him unclear, the result of poor writing or that Patricia Knights lack of acting skills can't convincingly convey her feeling of love to the parole officer.

84.00

Apaixonados estreava há 75 anos em Connecticut. Ai que ódio! O Sirk aceitou fazer esse filme por conta do roteiro perfeito fatalista/anarquista do Samuel Fuller em que o Marat se revoltava contra o sistema judiciário que arruína a vida de todo mundo aqui, mas acabaram reescrevendo o final é virou essa merda. Se não fosse por isso, seria mais um grande filme do Sirk. Box Versátil Filme Noir Volume 23.

"Given its poetic nuances, it's a shame the film succumbs to cliché." - Ed Gonzalez

Shockproof (1949) was onto something, but the end result was a little too plain. Still a good crime to straight romance that Cornel Wilde did a good job at.