After a manslaughter conviction from drunk driving, nice but foolish Kent is sent to a prison over-crowded and unable to properly deal with it's inmates. There he meets veteran criminals like Morgan and his hardened pal Butch. And the system punishes them all, turning them against each other and bringing out the worst.Written by
Ken Yousten <firstname.lastname@example.org>
This film's television premiere took place in Philadelphia Wednesday 24 April 1957 on WFIL (Channel 6), followed by New Haven CT 1 May 1957 on WNHC (Channel 8), by Altoona PA 8 May 1957 on WFBG (Channel 10), by Chicago 18 May 1957 on WBBM (Channel 2), by Los Angeles 16 June 1957 on KTTV (Channel 11), by Hartford CT 3 July 1957 on WHCT (Channel 18), by Norfolk VA 8 August 1957 on WTAR (Channel 3), by Seattle 29 September 1957 on KING (Channel 5), by Portland OR 15 October 1957 on KGW (Channel 8), by San Francisco 22 February 1958 on KGO (Channel 7), by Minneapolis 22 July 1958 on WTCN (Channel 11), and, finally, by New York City 25 August 1958 on WCBS (Channel 2). See more »
When Anne comes to visit Kent at the prison, and he walks up and says 'Hi sis,' the shadow of the microphone falls across her. See more »
Music by Antonín Dvorák
from Second Movement (Largo) in Symphony No. 9 in E Minor "From the New World", Op.95, B.178 (1893)
Lyrics by William Arms Fisher (1922)
Sung offscreen by an unidentified prisoner in solitary See more »
A great character study and view of the prison system
I saw "The Big House" last night as part of Turner Classic Movies' tribute to Frances Marion, the great female screenwriter. Marion became the first woman to win an Academy Award for screenwriting for her work on this film.
"The Big House" is a fascinating character study, showing how three very different men deal with being imprisoned. Butch (Wallace Beery) lords over all of the men with a knife and threats of violence. John Morgan (Chester Morris) is smart enough to befriend Butch and his crew, but keeps his own set of values. Newcomer Kent Marlowe (Robert Montgomery) is terrified of prison and eventually turns "rat" in hopes of being released.
The film also infers that the public at large is partly to blame for the discontent (and eventual unrest) within the prison: at one moment, the head warden says something to the effect of the public wanting to put criminals in prison, but not wanting to spend the money to build more prisons to accommodate them. This is issue is still debated to this day.
I also found the portrayal of the lone female character, Anne Marlowe (Kent's sister, played by Leila Hyams), very refreshing and unexpected. Instead of the crying, simpering type we might expect in a prison movie, we are given a smart and compassionate woman who owns her own business.
All of the actors gave excellent, realistic performances and Frances Marion's screenplay was well-deserving of the accolades it received. The insight and sensitivity that she used to write about these characters and this place surpasses most of the scripts written by men on the same subject.
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