Shockproof (1949)

79 mins | Drama | January 1949

Director:

Douglas Sirk

Cinematographer:

Charles "Bud" Lawton

Editor:

Gene Havlick

Production Designer:

Carl Anderson

Production Company:

Columbia Pictures Corp.
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HISTORY

The film's working title was The Lovers . Cornel Wilde and Patricia Knight were married at the time the film was ... More Less

The film's working title was The Lovers . Cornel Wilde and Patricia Knight were married at the time the film was made. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
15 Jan 1949.
---
Daily Variety
24 Jan 49
p. 3.
Film Daily
25 Jan 49
p. 6.
Hollywood Reporter
28 Jun 48
p. 20.
Hollywood Reporter
30 Jul 48
p. 12.
Hollywood Reporter
24 Jan 49
p. 3.
Motion Picture Herald Product Digest
29 Jan 49
p. 4477.
Variety
26 Jan 49
p. 11.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCER
Assoc prod
WRITERS
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
Gowns
MUSIC
Mus dir
Mus score
SOUND
MAKEUP
Makeup
Hair styles
DETAILS
Alternate Title:
The Lovers
Release Date:
January 1949
Production Date:
28 June--9 August 1948
Copyright Claimant:
Columbia Pictures Corp.
Copyright Date:
7 January 1949
Copyright Number:
LP2038
Physical Properties:
Sound
Western Electric Recording
Black and White
Duration(in mins):
79
Length(in feet):
7,172
Country:
United States
Passed by NBR:
No
SYNOPSIS

When ex-convict Jenny Marsh visits her Los Angeles parole officer, Griff Marat, he lists the conditions of her parole: she must report to him every day and she must not carry a weapon or get married. He also warns her to stay away from Harry Wesson, who was partially responsible for her involvement in crime. Griff helps Jenny find a place to live and a job, but Jenny resumes her relationship with Harry, despite Griff's warning. Later, Jenny is picked up during a raid on the bookie joint where Harry took her. Despite her violation, Griff believes that Jenny will successfully straighten out her life, an opinion that is reinforced by the psychologist who examines her. Even though Jenny realizes that Harry is a bad influence, she makes a date with him, but when she leaves her room to go meet him, she finds Griff waiting for her. He offers to take her to dinner, and she is forced to accept. Griff also picks up his younger brother Tommy, Tommy's friend Barry and Fred Bauer, another parolee, and brings the whole group to his house, where he lives with Tommy and their blind mother. At first, Jenny is angry and tells Griff that Harry is the only man who was ever kind to her. She admits that she would do anything for him, including murder. Because she lost her job after the raid, Griff offers her a position caring for his mother during the day in return for room and board. Jenny meets secretly with Harry, begging him to help her leave town because she believes that Griff is falling ... +


When ex-convict Jenny Marsh visits her Los Angeles parole officer, Griff Marat, he lists the conditions of her parole: she must report to him every day and she must not carry a weapon or get married. He also warns her to stay away from Harry Wesson, who was partially responsible for her involvement in crime. Griff helps Jenny find a place to live and a job, but Jenny resumes her relationship with Harry, despite Griff's warning. Later, Jenny is picked up during a raid on the bookie joint where Harry took her. Despite her violation, Griff believes that Jenny will successfully straighten out her life, an opinion that is reinforced by the psychologist who examines her. Even though Jenny realizes that Harry is a bad influence, she makes a date with him, but when she leaves her room to go meet him, she finds Griff waiting for her. He offers to take her to dinner, and she is forced to accept. Griff also picks up his younger brother Tommy, Tommy's friend Barry and Fred Bauer, another parolee, and brings the whole group to his house, where he lives with Tommy and their blind mother. At first, Jenny is angry and tells Griff that Harry is the only man who was ever kind to her. She admits that she would do anything for him, including murder. Because she lost her job after the raid, Griff offers her a position caring for his mother during the day in return for room and board. Jenny meets secretly with Harry, begging him to help her leave town because she believes that Griff is falling in love with her, but Harry suggests that she encourage Griff's infatuation. One night, when they are alone, Griff tells Jenny that his office received a request for her transfer to San Francisco. She turns down the opportunity to leave, and because he knows that Harry arranged the transfer, Griff is pleased. Later that night, Griff asks Jenny to marry him. Although she refuses, Harry encourages her to go through with the marriage because by thus breaking her parole, she would quash Griff's political ambitions. Determined to spare Griff, Jenny runs away, but Griff goes after her and insists that they get married secretly. After the marriage, Jenny breaks off her connection with Harry, causing him to come to Griff's house to speak to her. Griff encounters him there, and the two men quarrel. Later Harry telephones Griff, saying that he has information about his wife. Griff finds a severely wounded Harry, along with a note from Jenny begging Harry to take her away. Convinced that Jenny shot Harry, he coldly decides to turn her in, but his mother is sure that Jenny shot Harry out of love for Griff. Griff then resolves to escape to Mexico with Jenny. They are recognized before they can cross the border, but manage to escape to another state on a bus. There, Jenny dyes her hair, and Griff gets a job working at an oil refinery. Eventually a photograph of the couple appears in the newspapers and, tired of running, Jenny insists that they give themselves up. Harry is still in the hospital, but he tells the police that the shooting was an accident, assuring Griff and Jenny that they can now live an honest life together. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.