I was prompted to look for this film (I found it online) after a comment on my post about Benedetta. It was suggested to me that the idea of a ‘nunsploitation’ picture was closely related to the women’s prison film, a genre that began to develop particularly in the 1950s as the American film industry – and film audiences – began to change. Films about women in prison offered an emotional hotpot of female only communities placed under pressure. Such films can be traced back to the silent era, gradually developing in pre-code Hollywood but then being restricted to approved stories of rehabilitation during the studio period. In 1950 Warner Bros released Caged and United Artists released So Young, So Bad. These two studio releases signalled the start of a move towards harder narratives and the establishment of a more defined genre repertoire. Women’s Prison in 1955 was one of the first films to focus entirely on the prison community with all the criminal activity and judicial procedures prior to incarceration being omitted.
My choice of this title is simply because it is Ida Lupino’s last cinema release for a major studio in which she takes the lead role. She would continue acting in TV dramas and independent cinema releases until the late 1970s but at this point, still aged only 37, she remained able to command the screen and to ‘carry’ the film. Why was the only recognised female director in Hollywood at the time prepared to star in a ‘women in prison’ picture? The answer is simple economic necessity. The attempt to distribute the films produced by Filmakers, the company owned by Lupino and her second husband Collier Young, was proving unsuccessful and in January 1955 it moved to find another major distributor for future product. It was also in trouble with the Screen Actors Guild because it had sold a film (Never Fear, 1950) to television without paying residuals to the actors involved. Lupino needed to find extra income. Women in Prison was made by an independent, Bryan Foy Productions, but it was distributed by Columbia. There was a strong supporting cast with Jan Sterling, Cleo Moore, Audrey Totter and Phyllis Thaxter as the featured inmates and Lupino’s then husband Howard Duff playing opposite his wife as the potential good guy. Lupino herself was the manic and sadistic superintendent of the women’s half of a state prison in which the overall governor ran the men’s half. The two communities were physically separated but the possibility that an inmate could cross over to the ‘other side’ would become an aspect of the plot. The writers Jack DeWitt and Crane Wilbur were experienced in a range of genres as was director Lewis Seiler and DoP Lester White. Ida Lupino could at least be confident that these guys knew what they were doing.
Wikipedia has an interesting page on the ‘Women in Prison’ genre and unsurprisingly there is a scholarly interest in the genre from feminist film academics. Women’s Prison arguably brings together several familiar elements of the developing repertoire and establishes a new direction for the genre which takes off in the mid 1950s and then rapidly expands in the 1970s. Ida Lupino herself appeared in a TV movie in 1972, Women in Chains in which she is the lead, again as a tyrannical chief warden. Women in Prison opens in a classical manner with the arrival of two young women as new prisoners. Brenda Martin (Jan Sterling) has been inside before for passing fake cheques and she knows what to expect. Helene Jensen (Phyllis Thaxter) is a middle class woman convicted of manslaughter having caused the death of a child in a road accident. She is already traumatised and clearly unlikely to get through the brutal treatment in which, as a new inmate, she is to be kept in solitary for the first few days. Brenda will attempt to support Helene but we are quickly introduced to two other characters who will also be central to the narrative. Cleo Moore plays the voluptuous 1950s young woman found in many exploitation films of the period and Audrey Totter plays the wife of a convicted criminal who has refused to betray her husband and has been convicted of possession of a weapon. He is being held in the adjacent men’s prison and the plot involves his attempts to to get into the women’s prison and visit his wife. There are two other notable supporting players. Juanita Moore, one of the few African-American players to feature in a variety of roles in Hollywood in the studio period (i.e. not only as a music star or as a servant) is part of an all-black quartet in one of the cells. This segregation is not commented on. Moore would have her biggest role as the mother in Douglas Sirk’s hit melodrama Imitation of Life in 1959. Vivian Marshall plays a stripper who is able to perform impersonations of film stars and this will also provide a key plot device in the film.
The whole cast of inmates performs well as an ensemble which also includes the female warders, one of whom is played by Mae Clarke (who had a grapefruit pushed into her face by Jimmy Cagney in 1931’s Public Enemy). This leaves the central tussle between Lupino’s Amelia van Zandt as the superintendent and Howard Duff as the prison doctor who appears to be both general physician and psychologist. He will attempt to stop the harsh treatment of Helene but will be overruled by the superintendent. Lupino is genuinely terrifying as the sadistic van Zandt. She wears tight-fitting costumes complete with a studded leather belt to which are attached her master keys. By contrast all the female inmates are dressed in drab and poorly fitted uniforms. This would change in later examples of the genre with the opportunity to show prisoners in skimpy costumes and stages of undress being exploited as the production code was eased in the 1960s. Women’s Prison concentrates on the ensemble and the interweaving stories which build to an ultimate confrontation with van Zandt.
I found the film very entertaining and Variety‘s reviewer seemed to share my view. The January 20 1955 trade show screening report concludes that this film is a “good entry in the programmer market”. This raises the question of the ‘B’ picture designation. Ida Lupino has been tagged with the designation of a ‘B’ picture director and, in the 1950s, a ‘B’ picture actor. The film scholar Annette Kuhn published a book on Lupino’s directorial work in in film and TV which was given the title ‘Queen of the Bs’. I’ve not read the book but I suspect that the title has been applied by other commentators rather glibly. I think that Variety‘s comment here refers to the studios’ double bill practice in the early 1950s. Columbia distributed Women’s Prison as an 80 minute feature which could be paired with one of several other Columbia pictures, but it was also promoted in the trades alongside Columbia’s A releases. Variety shows the film being booked with films such as Fritz Lang’s Human Desire (1954) with Glenn Ford and The Violent Men (1955), a Western also with Glenn Ford. Masterson of Kansas (1954), also a Western, was another picture from the previous year which was paired with the prison film. Women in Prison was the lead on these double bills and was performing well in cinemas. Box office for the film was ‘good’ in New York, ‘sock’ in Philadelphia and ‘sturdy’ in Chicago. Cleo Moore was recognised as a draw when she made a personal appearance. Columbia also had a Korean War picture, Bamboo Prison (1955) which was in a double bill with Women’s Prison and the this did very well in Philadelphia. In New York the film did good business as part of a vaudeville programme. In several locations Women’s Prison lasted two or three weeks.
Generally the film is referred to as a melodrama in the trades and there is also a sense in which it is viewed as a ‘social problem’ melodrama. Although the closing sequence presents exciting action, the real thrust of the narrative is for the women to expose the incompetence and and dangerous behaviour of the superintendent towards the inmates. The promotional material for the film hints at more in terms of sensationalist exposure than is actually delivered. What we get is a well-made drama and a worthy entry in Lupino’s long list of credits.
I’d like to acknowledge the detailed blog post by ‘Monster Girl’ (Jo Gabriel) on Women’s Prison which is well worth a read and offers a woman’s perspective on the genre. Here’s an early scene from the film when the two new inmates meet Juanita Moore who explains that she’s called Polyclinic after the hospital she was born in!