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Not YMMV.
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* UnbuiltTrope: Just like its competition ''Film/SoYoungSoBad'', this is the UrExample of GirlsBehindBars. Yet it is a film noir instead of exploitation, the abuse is played for NightmareFuel and the story is genuinely dark and grim.
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None
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* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or titillation, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.
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* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or titillation, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.things which are reported today too.
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None
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* VisualEffectsOfAwesome: Eleanor Parker did not really have her head shaved on-screen. Not that you'd know it, because the effect is very convincing.
to:
* VisualEffectsOfAwesome: SugarWiki/VisualEffectsOfAwesome: Eleanor Parker did not really have her head shaved on-screen. Not that you'd know it, because the effect is very convincing.
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A single second-level bullet is always incorrect indentation. Especially if there's NOTHING at the first level.
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* AwardSnub:
** Agnes Moorhead gives a very understated but powerful performance as Ruth Benton, and didn't even get a nomination.
** Agnes Moorhead gives a very understated but powerful performance as Ruth Benton, and didn't even get a nomination.
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* AwardSnub:
**AwardSnub: Agnes Moorhead gives a very understated but powerful performance as Ruth Benton, and didn't even get a nomination.
**
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There were other that year that were snubbed.
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** Eleanor Parker did not win for her gripping performance of a young girl corrupted by the prison system.
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Fetish Fuel is not a trope and should not be used as one.
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* UnbuiltTrope: Just like its competition ''Film/SoYoungSoBad'', this is the UrExample of GirlsBehindBars. Yet it is a film noir instead of exploitation, the abuse is played for NightmareFuel rather than FetishFuel and the story is genuinely dark and grim.
* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or FetishFuel, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.
* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or FetishFuel, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.
to:
* UnbuiltTrope: Just like its competition ''Film/SoYoungSoBad'', this is the UrExample of GirlsBehindBars. Yet it is a film noir instead of exploitation, the abuse is played for NightmareFuel rather than FetishFuel and the story is genuinely dark and grim.
* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} orFetishFuel, titillation, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.
* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or
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None
* MoralEventHorizon: Harper first flirts with crossing it when she taunts June about being denied parole, resulting in the girl's suicide. But she definitely crosses it when she goes behind Benton's back to [[spoiler: forcefully shave Marie's head]].
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* WhatDoYouMeanItsNotSymbolic: The TraumticHaircut and the argument Ruth Benton has with the bureaucrats about it has been interpreted as a metaphor for PrisonRape. Especially how Benton states that no man can ever truly understand what doing that to a woman means to her. The fact that it pushes the victim over the DespairEventHorizon solidifies it even further.
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* WhatDoYouMeanItsNotSymbolic: The TraumticHaircut TraumaticHaircut and the argument Ruth Benton has with the bureaucrats about it has been interpreted as a metaphor for PrisonRape. Especially how Benton states that no man can ever truly understand what doing that to a woman means to her. The fact that it pushes the victim over the DespairEventHorizon solidifies it even further.
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None
Added DiffLines:
* AlternateCharacterInterpretation: The reason Marie's mother refuses to take custody of the baby - does she realise that Marie won't be granted parole and she might have to take on the child permanently? Is she more willing to take it on, but afraid of angering her husband? Or is it simple worry about her reputation if she has to raise a grandchild who was born in jail?
* AwardSnub:
** Eleanor Parker did not win for her gripping performance of a young girl corrupted by the prison system.
** Agnes Moorhead gives a very understated but powerful performance as Ruth Benton, and didn't even get a nomination.
* CatharsisFactor: [[spoiler: After seeing Harper abuse the inmates throughout the film, the viewer is bound to be cheering with them when Kitty finally stabs her to death in the mess hall]].
* HilariousInHindsight: Seeing Eleanor Parker having to give up her baby is sad, but becomes amusing when you see her in [[Film/TheSoundOfMusic another film]] where she's terrified at the thought of being a mother to seven children.
* {{Narm}}: [[spoiler: The kitten's mouth is clearly moving when it's pronounced dead]].
* NightmareFuel: Evelyn Harper is one of the most terrifyingly cruel prison wardens in film history. Part of what makes her so terrifying is that she knows she can get away with everything, and Ruth Benton is powerless to stop her.
* OneSceneWonder: June is barely in the film but plays a significant part, emphasising Harper's cruelty. Her suicide gives Marie a huge reality check - and serves as a warning not to get her hopes up at being granted parole.
* StoicWoobie: It's easy to see Ruth Benton as this. She's doing her best to fight a corrupt system and a matron who undermines her every order - and gets away with it too. She's determined to treat the girls like people and not animals, but it's unclear if she's actually getting through to them. She even sounds so defeated in her final scene with Marie.
* TearJerker:
** Marie's devastated reaction to her mother refusing temporary custody of the baby - out of sheer selfishness - especially since the other option is to put the baby up for adoption. In a fit of hysterics, she tries climbing out over the prison fence.
** [[spoiler: The death of the pet kitten and Marie's subsequent punishment headshave. The kitten was a MoralityPet for her and its loss and her following humiliation result in her final FaceHeelTurn. Her tearful "all I wanted was the kitten" cements it]].
** [[spoiler: Marie tossing her wedding ring away before she gets out at the end. She clearly did still love her husband when she came in. But she has now come to only resent him for landing her in prison in the first place - showing how she has become completely broken by her time inside]].
* UnbuiltTrope: Just like its competition ''Film/SoYoungSoBad'', this is the UrExample of GirlsBehindBars. Yet it is a film noir instead of exploitation, the abuse is played for NightmareFuel rather than FetishFuel and the story is genuinely dark and grim.
* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or FetishFuel, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.
* VisualEffectsOfAwesome: Eleanor Parker did not really have her head shaved on-screen. Not that you'd know it, because the effect is very convincing.
* WhatDoYouMeanItsNotSymbolic: The TraumticHaircut and the argument Ruth Benton has with the bureaucrats about it has been interpreted as a metaphor for PrisonRape. Especially how Benton states that no man can ever truly understand what doing that to a woman means to her. The fact that it pushes the victim over the DespairEventHorizon solidifies it even further.
* TheWoobie:
** Marie Allen, an innocent 19-year-old forced to prison for crimes she was only an accomplice for. She's sent while pregnant and just after she's lost her husband. The TraumaCongaLine the girl goes through is a hard one.
** June too, convinced she's going to get out. When she's denied parole - and mocked for it by Harper - she opts to kill herself rather than stay in.
* AwardSnub:
** Eleanor Parker did not win for her gripping performance of a young girl corrupted by the prison system.
** Agnes Moorhead gives a very understated but powerful performance as Ruth Benton, and didn't even get a nomination.
* CatharsisFactor: [[spoiler: After seeing Harper abuse the inmates throughout the film, the viewer is bound to be cheering with them when Kitty finally stabs her to death in the mess hall]].
* HilariousInHindsight: Seeing Eleanor Parker having to give up her baby is sad, but becomes amusing when you see her in [[Film/TheSoundOfMusic another film]] where she's terrified at the thought of being a mother to seven children.
* {{Narm}}: [[spoiler: The kitten's mouth is clearly moving when it's pronounced dead]].
* NightmareFuel: Evelyn Harper is one of the most terrifyingly cruel prison wardens in film history. Part of what makes her so terrifying is that she knows she can get away with everything, and Ruth Benton is powerless to stop her.
* OneSceneWonder: June is barely in the film but plays a significant part, emphasising Harper's cruelty. Her suicide gives Marie a huge reality check - and serves as a warning not to get her hopes up at being granted parole.
* StoicWoobie: It's easy to see Ruth Benton as this. She's doing her best to fight a corrupt system and a matron who undermines her every order - and gets away with it too. She's determined to treat the girls like people and not animals, but it's unclear if she's actually getting through to them. She even sounds so defeated in her final scene with Marie.
* TearJerker:
** Marie's devastated reaction to her mother refusing temporary custody of the baby - out of sheer selfishness - especially since the other option is to put the baby up for adoption. In a fit of hysterics, she tries climbing out over the prison fence.
** [[spoiler: The death of the pet kitten and Marie's subsequent punishment headshave. The kitten was a MoralityPet for her and its loss and her following humiliation result in her final FaceHeelTurn. Her tearful "all I wanted was the kitten" cements it]].
** [[spoiler: Marie tossing her wedding ring away before she gets out at the end. She clearly did still love her husband when she came in. But she has now come to only resent him for landing her in prison in the first place - showing how she has become completely broken by her time inside]].
* UnbuiltTrope: Just like its competition ''Film/SoYoungSoBad'', this is the UrExample of GirlsBehindBars. Yet it is a film noir instead of exploitation, the abuse is played for NightmareFuel rather than FetishFuel and the story is genuinely dark and grim.
* ValuesResonance: The film is remarkably feminist for a 1950s production. Not playing the female prison setting for any {{Fanservice}} or FetishFuel, the film's themes about corruption and crime are still relevant in the modern age. Evelyn Harper's abuse of the inmates (that no one bothers to stop) eerily parallels reports of police abuse of power.
* VisualEffectsOfAwesome: Eleanor Parker did not really have her head shaved on-screen. Not that you'd know it, because the effect is very convincing.
* WhatDoYouMeanItsNotSymbolic: The TraumticHaircut and the argument Ruth Benton has with the bureaucrats about it has been interpreted as a metaphor for PrisonRape. Especially how Benton states that no man can ever truly understand what doing that to a woman means to her. The fact that it pushes the victim over the DespairEventHorizon solidifies it even further.
* TheWoobie:
** Marie Allen, an innocent 19-year-old forced to prison for crimes she was only an accomplice for. She's sent while pregnant and just after she's lost her husband. The TraumaCongaLine the girl goes through is a hard one.
** June too, convinced she's going to get out. When she's denied parole - and mocked for it by Harper - she opts to kill herself rather than stay in.
