That was an excellent one.

Redundant and unnecessary.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

I, the jury, pardon all the usual suspects for this interesting expose of an illegal parole racket where the narrative hooks you right away. The sound of a man's voice closes in on the speaker who is revealed to be the badly bruised Michael O'Shea, a federal investigator telling his story of exposing the racket, headed by ruthless Turhan Hey and aided by sassy same Evelyn Ankers, giving up her title as scream queen to go down Ann Savage/Barbara Payton territory. Smartly written, this exposes what is right about the parole system and what is definitely wrong with it. Starting off with the allegation that parolees are likely to commit more crimes when out, it uses that hook to make you mad enough to see what it has to say. As O'Shea is warned, he has a lot to watch out for, considering that his predecessors were either found filled with bullets, or not found period.Ankers makes a fine vixen, pretending to get drunk on a date with O'Shea to find out who he really is, while Virginia Lee is quite good as the wife if a decent man paroled who pays for betraying the racket. Tight editing and fast pacing make this one of the better racket films that has enough elements of film noir to be lightly categorized in that genre.

Made in a perfunctory manner, to get the job done but not really to shine. A fine plot that could have been a classic in the right hands with the right budget is carried out competently enough, so "Parole, Inc." kept me interested. Everything moves briskly along.Talented actors including the charismatic Ms. Ankers go through their work with professionalism but don't have anything to work with character-wise. In fact, the big flaw here is total absence of character development. Who are these characters and what makes them tick- I guess we weren't meant to wonder such things.Skilled acting and a good amount of plot-driven tension are adequate to carry this film despite lacking any depth or style, and with only average direction, editing etc.Its OK but there are many better crime films of the era.

This B-movie is about a scam where the parole board is releasing undeserving candidates. An investigator decides to go undercover in order to root out who is on the take as well as their confederates. So, he poses as a real guy who had just recently escaped from prison—which is great unless any of the crooks knew this escapee. You figure this plan does not go perfectly, as the story is a flashback and periodically the film returns to the present—and shows the undercover man in a hospital bed—covered in bandages. This sure makes for an anti-climactic film, as you know the guy will survive—no matter how dangerous his position is late in the film.Despite having a cast completely made up of unknowns and a very low budget, the film works reasonably well. As I said above, the suspense could have been a lot better had the story not been told as a flashback by the agent, but it's competently made, reasonably engaging and, at times, pretty exciting. While not a great film, it's a pretty good time-passer.

This was an interesting little mystery/crime thriller dealing with criminal conspiracy in the parole system. Plotted rather well with a wide cast of characters, you really had to concentrate on the players to keep it all in focus. Undercover detective Richard Hendricks (Michael O'Shea) has three names in the story, recruited by the Governor and State Attorney General to try and find out how a string of recent paroles occurred to put nasty gangsters back on the street. It was rather comical to see Hendricks in an opening scene in a hospital bed with his face crudely bandaged up with gobs of tape. He proceeds to tell his story in somewhat of a flashback style, and it works pretty well as he comes in contact with various mobsters and henchmen in the employ of Jojo Dumont (Evelyn Ankers), owner of the Pastime Club. She's in league with her shady lawyer boyfriend, Barney Rodescu (Turhan Bey), who has contacts on the parole board that line their pockets as he calls the shots.I would like to have seen a darker and seedier atmosphere for the picture given the subject matter. Everything seemed to take place in the bright light of day, and I didn't get the impression that the Pastime Club was the sleazy gin mill and cheap cafe that it was described to be. Glenda Palmer (Virginia Lee) had a rather nice and spacious apartment on waitress wages, and though you could say she was bankrolled by her convict husband Harry (Charles Bradstreet), he was still doing time when the story opened. Too bad Harry tried to do an end run around Jojo; he seemed like a decent enough guy otherwise, for a criminal.The best part about the picture is the way Hendricks infiltrates himself into the set up with Charley Newton (Paul Bryar) and the boys. You can tell some thought was put into the story when you have Hendricks leaving clues he was a hood back in his hotel room. A lot of stories of the era would have glossed over small details like that and would have assumed the viewer would take it for granted. It was touches like that, that place the film a notch above similar flicks of the era, like 1947's "Big Town After Dark". There was enough credibility in the characters and situations to play out effectively, and you didn't have to scratch your head over a bunch of goofy stuff that a lot of these programmers came up with.