Console best movie i've ever seen.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Portia Hilton Blistering performances.

Cristal The movie really just wants to entertain people.

Dalbert Pringle Favorite quote - "Stop being so melodramatic!" Now here's yet another movie from the apparently chaste 1940s where, even though the strangle-hold of the Hays Code was very much in effect, its story features a man who's in a position of trusted authority (this time it being a handsome (natch) parole officer) who becomes (through deliberate intentions) romantically involved with one of his parolees (this time it being a beautiful (natch) murderess/ex-con).And, I don't know about you, but, from my point of view, when it comes to issues like moral ethics and a sense of professionalism, I judge any hanky-panky (with one's client, or patient, or whoever) as being pretty damn low, and lousy, and clearly unacceptable. (Yes, even in a movie!)And it was because of the professionally immoral nature of this movie-romance (and the events that revolved around it) that I purposely reduced Shockproof's star-rating significantly in accordance with my feelings.Another reason why I rated Shockproof so low was because this unethical parole officer (who was a man in his mid-30s) was also something of a momma's boy, still living at home and very much tied to his clinging mother's strangulating apron-strings. (Like, give me a break, already!)Anyways - With all of the above-mentioned nonsense aside, Shockproof's "Lovers-On-The-Run" story really wasn't that good to begin with.From its absurd and contrived story-line, to its wooden performances, to its goofy dialogue and mediocre direction, I found Shockproof's "She's-no-good/He's-no-good" premise, for the most part, much too laughable (unintentionally), far too often. This film really took itself way-way too seriously for its own good.And, along with all of its other many fluky flaws and annoying inconsistencies, this quickly reduced Shockproof to being one of the most unsatisfactory B-Movie Thrillers that I've seen in a mighty long-long time.Thank goodness that this utter nonsense-of-a-movie had a running time of only 80 grate-on-your-nerves minutes!

MartinHafer I chose to watch this film because it was written by Sam Fuller--and Fuller was a freakin' genius at making exceptional small-budget films. However, as you'll notice from the IMDb trivia that Fuller's original tough-as-nails ending was changed--and a cheap clichéd ending was added. And, after watching it, I would agree that the ending was terrible--but what occurred before that wasn't a whole lot better.The film begins with a lady getting paroled. She'd murdered someone and her parole officer (Cornell Wilde) insists she cannot see her old boyfriend as a condition of parole. However, the next day she's caught with him. Instead of violating her parole, he instead treats her very, very strangely. Like a total sap, he brings her and another parolee home to meet his family and have dinner with them! Soon, he hires her to look after his blind mother--and she's practically part of the family. You wonder if any officer could ever have been that stupid or have such poor personal boundaries! You assume that any parole officer behaving like he does during the film would be immediately fired! Throughout much of the film, it's obvious she's playing her parole officer and secretly meets with the old boyfriend. Eventually, however, it's uncertain--could she be falling in love with Wilde? You sure as heck know he's falling for her! This is a film where you very seriously have to suspend your sense of disbelief--otherwise the plot simply won't make any sense. After all, Wilde's character is absolutely unbelievable...and as the film progresses, he gets worse and worse! As for me, I wasn't able to suspend my belief THIS much! I am not sure how much of this was due to Fuller and how much was due to studio meddling, but it was a problematic script from the outset. It MIGHT have worked if Wilde had played a dishonest p.o. from the outset--not the super-officer he was supposed to be. The one redeeming value the film has is the great dialog--very gritty and enjoyable for fans of film noir (except for the inexplicable line about 'getting a crook' and moving to California). But the story just didn't make any sense and it clearly could have used a re-write or just an entirely new plot--and an ending that is believable. The story could have worked, but instead of tense film noir it sometimes closer resembled "Dumb and Dumber"! Could a supposedly smart man act dumb over a 'dame'? Sure--but the film just didn't sell the idea well at all.

whpratt1 Enjoyed this film a great deal because I always liked Cornel Wilde, (Griff Marat) who plays the role as a parole officer and he has to deal with a very attractive gal named Jenny Marsh, (Patricia Knight) who spent five years in prison for taking the rap for murder which she did for her lover Harry Wesson, (John Baragrey). Griff tells Jenny she cannot have anything to do with her boyfriend Harry and he also put many restrictions on her because she is on parole for life. Griff begins to take a liking to Jenny but she fights him off and wants to always go back to her lover. This story takes on many twists and turns which holds your interest and I was very surprised that the hairstyle and clothes that Patricia Knight wore would even look great today, she gave a great performance.

dbdumonteil "Schockproof" looks like a blueprint for Sirk's works to come ,particularly "Written on the wind" .Patricia Knight is the bad girl (because of a tormented childhood,poverty ,parents loss....) we find again in the 1956 effort:¨besides Knight resembles Dorothy Malone,who,unlike her,will play a rich spoilt kid ,playing around with the gas station men,and driving along a road of derricks (also present in "shockproof") "Shockproof" is too predictable to be considered a Sirk classic (like such works as "written on the wind" "all that heaven allows" "imitation of life" or "a time to love and a time to die" ,to name but four).The script borrows from two Fritz Lang works of the thirties ,one of which is a masterpiece ("You only live twice" ) ;in the other one, much less absorbing "You and me" ,Sylvia Sydney plays a woman in the same situation as Knight.Also handicapped by a happy end ,very artificial.The best scenes are to be found in the parole officer's house ,when Knight discovers that the other guest is also on parole;this family unit (an old blind mom,two kid brothers) desperately needs someone ,it's obvious.The rebuilding of a family will emerge again in "all that heaven allows" "there's always tomorrow" and particularly "Imitation of life" and "All I desire"