City Without Men

Plot

When her husband Frank is wrongfully convicted of murder and sentenced to death, devoted wife Peggy Wilson refuses to give up hope. To be closer to him and work on proving his innocence, she moves into a boardinghouse located just outside the prison walls, where all the residents are wives of inmates. The boardinghouse, nicknamed 'City Without Men' due to its population of women waiting for their imprisoned husbands, becomes a microcosm of despair, hope, and desperation. Peggy befriends the other women, each with their own stories of love and loss, while working tirelessly with a sympathetic newspaper reporter to uncover evidence that could save her husband. As the execution date draws nearer, Peggy races against time to find the real killer and exonerate Frank before it's too late.

Historical Background

Released in 1943 during the height of World War II, 'City Without Men' reflected the anxieties of a nation at war, particularly the separation of families and the uncertainty of loved ones' fates. The film's themes of justice, wrongful conviction, and the emotional toll on families resonated with audiences who were experiencing similar separations due to the war. The early 1940s also saw increased public interest in criminal justice reform, with several high-profile cases of wrongful conviction making headlines. The film's boardinghouse setting mirrored real-life situations where families would relocate to be near imprisoned relatives, a practice that became more common as America's prison population grew during this period.

Making Of

Director Sidney Salkow was known for his efficiency in directing low-budget films, often completing scenes in single takes to save time and money. Linda Darnell's casting was considered a coup for PRC, as she was one of Fox's rising stars. The boardinghouse scenes were filmed on a single set that was redressed to show different times of day and emotional states. The prison scenes were shot using stock footage combined with newly filmed material featuring the main actors. The film's tight shooting schedule meant that the cast and crew often worked 12-14 hour days to complete the film on time. Despite the rushed production, Darnell reportedly took her role seriously and prepared extensively, studying real cases of wrongful conviction to inform her performance.

Visual Style

The cinematography by Jack Greenhalgh utilized high-contrast lighting typical of the film noir style, particularly in the prison scenes and nighttime sequences. The boardinghouse interiors were shot with soft lighting to create a sense of domesticity contrasted with the harsh reality of the prison nearby. Greenhalgh employed Dutch angles in moments of emotional crisis to convey the characters' psychological turmoil. The prison scenes used deep shadows and bars in the foreground to emphasize confinement and entrapment. Despite the budget constraints, the cinematography managed to create a distinctive visual language that elevated the material beyond its B-movie origins.

Music

The musical score was composed by Alexander Laszlo, who created a melancholic main theme that recurs throughout the film to represent Peggy's unwavering hope. The score prominently features strings and piano to underscore the emotional drama, with more dissonant brass elements during scenes of tension and crisis. Laszlo incorporated leitmotifs for different characters, with Peggy's theme evolving throughout the film to reflect her emotional journey. The soundtrack also includes period-appropriate source music in the boardinghouse scenes, including popular songs of the era that would have been familiar to 1943 audiences.

Memorable Scenes

• The emotional boardinghouse scene where all the women gather around the radio to listen to news of a prison riot, their faces reflecting their shared fear and hope.
• Peggy's climactic confrontation with the real murderer in the prison visiting room, where she cleverly extracts a confession.
• The final scene where Peggy and Frank are reunited outside the prison gates as the sun rises, symbolizing new hope and justice served.
• The montage sequence showing the passage of time as Peggy investigates the case, intercut with Frank's deteriorating condition on death row.

What Critics Said

Contemporary critical reception was mixed to positive, with most reviewers praising Linda Darnell's performance despite acknowledging the film's low-budget origins. The New York Times noted that 'Miss Darnell brings conviction to her role that transcends the film's modest production values.' Variety praised the film's emotional core while criticizing some plot contrivances. Modern critics have reassessed the film as an interesting example of social problem filmmaking from the Poverty Row era, with particular appreciation for its sympathetic portrayal of women in crisis. Some film historians have noted that the film's treatment of wrongful conviction was ahead of its time in questioning the infallibility of the justice system.

What Audiences Thought

The film found modest success with audiences, particularly women who related to the themes of waiting and uncertainty during wartime. While not a blockbuster, it performed well enough for PRC's standards and helped establish Linda Darnell as a bankable leading lady capable of carrying dramatic roles. The boardinghouse setting resonated with viewers who knew similar situations in their own communities. Audience feedback cards from the period indicate that viewers appreciated the film's emotional honesty and Darnell's performance, though some found the pacing slow compared to more action-oriented wartime films.

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