Cubussoli Very very predictable, including the post credit scene !!!

ThiefHott Too much of everything

Beanbioca As Good As It Gets

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Ed-Shullivan This film does not fall short by any means. The Company She Keeps is a story of a young woman's plight named Diane Stuart (played by Jane Greer) that lands her behind bars on more than one occasion and when the opportunity for parole arises she has developed such a defeatist attitude that she feels she is fighting everyone in the (in)justice system. If Diane did not have bad luck she would have no luck at all. Once out of prison she visits with her parole officer Joan Willburn (played by Lizabeth Scott) and by accident or intention Diane finds the man of her dreams a newspaper columnist named Larry Collins (played by Dennis O'Keefe).The three main characters in this film, Diane Stuart (ex-con), Joan Wilburn (parole officer), and Larry Collins (newspaper columnist) form the love triangle that has deception written all over this screen play. Lies, lies, lies, or is it just that each person is reluctant to hurt the others feelings? As the film progresses we the audience realize that even female paroled prisoners are still considered ex-cons and their life is subjected to hell, especially in the year 1951 which is when this film was released. Truth be told, the rights and freedoms of ex- cons has not progressed much over the past 70 odd years.Inevitably Diane finds herself in a police line-up once again for nothing at all and she realizes her life is crap and any chance of true love, life and freedom was nothing more than a pipe dream. I won't spoil the film for anyone, but I will say that the director John Cromwell provided the audience with a surprise ending that should make most of his audience leaving the movie theater with a lot to talk about. The performances of Lizabeth Scott, Jane Greer, and Dennis O'Keefe were top notch. After close to 70 years since the films release I felt the film still contains a lot of human interest as it relates to crime and punishment.I give the film 4**** of 5*****.

dbdumonteil SPOILERSWhen the movie begins ,we side with Diane/Mildred ,we pity her lack of luck,her miserable childhood;and we think that THAT lady (Mrs Wilburn) will tear her to pieces when she knows the truth about her love affair .The unfortunate ex-convict has fallen in love with her parole officer's squeeze!But it's not what you expect;in fact ,as the movie progresses,the parole officer's morale stature and dignity constantly grows and Lizabeth Scott ,in the second part ,really steals the show from talented Jane Greer.Dennis O'Keefe,on the other hand ,seems too old for the part of a young suitor.This is nonetheless a moving absorbing movie,with a subject which is still topical,even though it simplifies the matters.Recommanded

djensen1 I fell for Lizabeth Scott in Too Late for Tears, and she's delicious here as a tortured altruist. But it's Jane Greer as the broken dove who has a the limelight for the first two acts. The shades of gray--and green--make this a juicy little melodrama for both characters. Indeed, the lesbian tension is palpable in the beginning (and I didn't know about Scott's reputation), suggesting much more than the film makers may have intended (but, oh, what a movie this COULD have been...). Dennis O'Keefe is the weak link, looking older than his 43 years and strolling thru scenes without adding much flavor. Fay Baker is a nice addition as the tough girl that Greer might have been without the help she gets.

dougdoepke Parole officer (Scott) and parolee Diane (Greer) compete for the same man (O'Keefe), creating conflict on several levels. At best, the movie's about the difficulties of being on parole.Oddball little programmer. Scott gets top billing, but as others point out, it's Greer who gets the screen time. And far from her usual slinky seductive role, she's not only de-glamorized, but also suitably dour-faced (just count her smiles; I stopped after one). All in all, it's a rather grim screenplay, drably photographed, and I can't believe the studio expected the final product to make money.Despite the romantic triangle that strains believability, there are several striking scenes. Catch the iconic 40's diner where Diane gets her bottom-of-the-barrel meals. The sweat and steam just about drip off the wall. And that police line-up-- a graphic cross-section of the city's tough cookies, down-and-out'ers, and hopelessly pathetic (& one of the few barfing scenes from that era)-- are all herded along by a bullying cop (Freed). It's one of the more unvarnished glimpses of urban flotsam and jetsam from the period. Then there's the crowded jail cell where the camera abandons Diane (& us) to a nightmare of entrapment. It's an unnerving moment, very well done. I would've liked the movie better had they made the triangle more credible, plus Scott's sacrificial character seems too good to be true. I expect the latter was RKO's effort at compensating for the harshness of the parole system as portrayed. Likely too, prestige producer John Houseman had something to do with the social realism phase, including the poignant overcoat episode. Anyway, reviewer bmacy's remarks on the influence of the previous year's Caged (1950) are on target. And, had this film carried through more with its realistic dimension, it might not be as obscure as it is.