The Secret of Convict Lake
“6 women at the mercy of the west's most dangerous outlaws !”
After a group of convicts escapes from prison, they take refuge in the wilderness. While most of the crew are ruthless sociopaths, Jim Canfield is an innocent man who was jailed under false pretenses. When Canfield and his fellow fugitives reach an isolated farming settlement where the men are all away, it creates tension with the local women. Things get direr when rumors of hidden money arise, and Canfield discovers that the man who framed him is part of the community.
Details
Release Date: 7/29/1951
Runtime: 83 minutes
Languages: English
Director: Michael Gordon
00Production
Companies: 20th Century Fox
Countries: United States of America
Where to watch · FR
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Reviews
John Chard
The Convict Conundrum. The Secret of Convict Lake is directed by Michael Gordon and collectively written by Anna Hunger, Jack Pollexfen, Oscar Saul and Victor Trivas. It stars Glenn Ford, Gene Tierney, Ethel Barrymore, Zachary Scott, Ann Dvorak, Barbara Bates, Cyril Cusack, Richard Hylton, Helen Westcott, and Jeanette Nolan. Music is by Sol Kaplan and cinematography by Leo Tover. I came here to kill one man. I don't mind killing a couple of others if I have to. It's winter time here at Diablo Lake, and the five convicts who have survived the escape find themselves holed up in a remote village. Their reasons for being there differ, more notable though is that the men of the village are away prospecting, meaning the village is only currently populated by women. It's a fine bubbling broth of scenarios, each convict is different, ranging from unstable psycho type, alpha male, twitchy youngster, simpleton and on to the calm likeable one who doesn't appear to belong in this company. So with the reasons for the men being here established, narrative then jostles with the inner fighting of the convicts, and the various emotional strands of the women folk. Suffice to say there is sexual tensions, mistrust, misrule, macho posturing and of course secrets to be born out. Violence is sporadic but potent upon arrivals (one instance especially grabs you by the throat), and with the mystery of the men's crimes a constant question, intrigue makes for an enjoyable companion. Tech credits are uneven. The studio bound feel of the village sequences which fill out 90% of the pic are an itch, making you hanker for the more expansive snowy terrains that greeted us at story beginning. However, Tover's monochrome photography is suitably mood compliant, even if Kaplan's score isn't, while the lead actors are giving good value to offset some of the histrionics elsewhere. Perhaps not the firecracker it could have been, given all the elements involved - particularly annoying that a strong feminist bent subsides into token play - this is none the less a most interesting piece that holds attention throughout. 7/10
CinemaSerf
