SO YOUNG, SO BAD
US, 1950, 86 minutes, Black-and-white.
Paul Henreid, Catherine Mc Leod, Anne Jackson, Anne Francis, Rosita Moreno, Enid Pulver, Cecil Clovelly, Grace Coppin, Mike Kellin.
Directed by Bernard Vorhaus.
So Young, So Bad is worth seeing even though it is a B-budget film of 1950. While there had been many films about prisons, men and women, this film came out the same year as Caged, with Eleanor Parker and Hope Emerson, about life in an adult women’s prison. The setting here is juvenile detention, rigorously disciplined.
This was the era in which there were films about juvenile delinquents – with screenplays that sounded true in the succeeding decades and into the 21st century. This is a sincere film about rehabilitation, at a time when liberals were under suspicion, the time of House of Un-American? activities, denunciation of those connected with the Communist Party. Director Bernard Vorhaus, who made a number of significant films, was blacklisted, made one more film in America after this and then another film in Italy and no more for almost half a century. The writer of the film, Jean Rouverol, was also blacklisted but was able to make something of a comeback even in the late 50s with The Miracle and Later, The Legend of Lylah Claire.
Paul Henreid is the benign psychiatrist. Catherine Mc Leod is the assistant, part of the system and trying to do her best but not wanting to lose her job, sitting in on the psychiatrist’s interviews with the girls and becoming more sympathetic.
Of great interest, historically, is that this film introduced Anne Francis, Anne Jackson, Rita Moreno, Enid Pulver. The first three had significant careers for many decades, especially Anne Jackson, working with Eli Wallach, her husband of 66 years. 11 years after this Rita Moreno won an Oscar for West Side Story. Enid Pulver had a brief acting and writing career. Anne Francis was leading lady at MGM – recapping this kind of role five years later in Blackboard Jungle.
This was an earnest film of 1950 – and screenplay could serve as earnest material for any year later.
1. The emergence of the women’s prison genre? The 1950s? Prison film traditions? This film contributing to further traditions? A sincere message rather than exploitation?
2. The 1950s, the concern about juvenile delinquents? Children and rebellion? Juvenile detention halls? Cruel regimes? Punishment? Issues of rehabilitation? Liberal sentiments in 1950? The atmosphere of the times? A continuing theme for the next many decades?
3. The detention centre, no walls, the human barriers? The discipline, the dormitory, the meditation room, hard manual labour? Changes, freedom, clothes, sport, professions, the dance? The plea for psychiatric understanding and help? Therapy?
4. The opening, the girls escaping, the truck, the girl falling off? Dr Jason and his puzzle, regrets? The head of the centre and his stern discipline, the threats to Dr Jason? Jason and his methods, the appointment of a psychiatrist against the head’s wishes?
5. The girls, the busload, their being offloaded, registered, the physical examinations, the showers, the clothes and uniforms? The marching? The dormitory? Mrs Beulah and her discipline? Mr Riggs and his discipline?
6. The focus on Loretta, and Dolores, Jackie and Jane? Each given an introductory segment with Dr Jason? Loretta, flirtatious, single mother, her father and his affirmation, his death? Dolores, her mental condition, Hispanic? Jackie and Jane, the loving friendship and suggestions? Jackie as tough, Jane and her background, never having met her father? Jackie never crying? Dr Jason and his personal attention to each of them, finding a place for work, for professional learning? Jane’s father visitng?
7. The dormitories, the discussions, the girls? The discipline, Dolores being put by herself and her collapse? The rumpus, Mrs Beulah and her turning the hoses on the girls? An intense sequence? Dr Jason and Ruth recovering the girls?
8. Dr Jason, his personality, Ruth Levering sitting in, her long work, not rocking the boat, gradual admiration for Dr Jason’s work? The outing, the shooting gallery, the merry-go-round, her falling off, the bond between the two?
9. Loretta, the hard work, the interviews with Dr Jason, coming onto him? His arranging for her to go to the adoption centre, Ruth, the clash, Loretta’s taunts, Ruth losing her temper, feeling she should resign? Dr Jason urging her to stay?
10. Mr Riggs, his discipline, harshness, driving the girls, pictures down from the walls, so defacing public property, the burning of the teddy bear…? The consequences of the hosing? His preparing the report, Dr Jason and Ruth coming to see him, his threat that they would send somebody more severe than he? Their control over him, changing the program, the girls clothes, sport, freedom, professions? The morale?
11. The buildup to the dance, the excitement for the girls, the girl stealing the perfume from Mrs Beulah, Mrs Beulah coming, asking Dolores, Dolores and her mental state, Mrs Beulah cutting her hair? Dolores hanging herself? The assumption by the authorities that Dolores cut her own hair and hanged herself?
12. Loretta and Jackie taking the opportunity, taking the truck, escaping? Jane falling off, her return?
13. The hearing, Jane and the others fearful, not telling the truth? The findings against Dr Jason and Ruth, their losing their jobs? Dr Jason’s proposal and Ruth’s acceptance?
14. Loretta and Jackie, going to the adoption centre, Loretta holding the baby, reconciled to it? Jackie and her feelings about Loretta? Weeping? The return, giving the testimony? The vindication of Dr Jason?
15. Rehabilitation, and the new group coming in?
