Shockproof comes from director Douglas Sirk and features a screenplay by Samuel Fuller and Helen Deutsch, with Cornel Wilde, Patricia Knight, John Baragrey, and Esther Minciotti in the cast. George Duning handled the music, while Charles Lawton Jr. was responsible for the cinematography. The story centers on parole officer Griff Marat (Wilde), whose life is dramatically altered when he’s assigned to supervise convicted murderer Jenny Marsh (Knight) upon her release from prison. Like many fans of film noir know, some movies can be so frustrating with their endings that they provoke real anger. Shockproof falls into this category; it's a collaboration between two talented filmmakers undermined by a studio decision that felt overly sentimental and completely unnecessary—a decision for which those in charge should have been held accountable. I’m the one who gets punished. Shockproof is actually an excellent film noir, presenting a straightforward man who finds his world complicated by the introduction of a classic femme fatale. Before you know it, he's deeply entangled. The stylistic elements are also top-notch noir. Sirk and Lawton consistently use prominent bar shadows; Jenny Marsh never escapes them—though she’s out of prison, the parole office and later Harry Wesson’s (Baragrey is quite good as her unscrupulous boyfriend) hotel room continue to confine her, and ultimately Griff himself. The Marat home showcases a pleasing blend of art deco and ornate design. Wilde portrays Griff as someone who frequently broods and smokes, while Jenny smolders and gazes into his melancholic eyes (Wilde really does have sad eyes!). Excuse me while I push Humpty Dumpty off the wall! For about an hour, everything is perfect—a prime example of film noir both in terms of story (the protagonists joining a list of noir couples on the run) and technical skill. Then it all goes wrong. Even before Griff abruptly abandons his disabled mother and younger brother without so much as a farewell—a development that seems jarring—a rewrite leads to a Hollywood-style ending (Deutsch was brought in for this purpose) that strains credibility and feels insulting. Aaaarggghhh! Sirk and Fuller were reportedly displeased, both wanting Fuller’s original conclusion, which would have been film noir perfection and entirely appropriate. It's a real shame because otherwise it’s quite good; Wilde and Knight share genuine chemistry (apparently stemming from an off-screen romance), and Sirk, Fuller, and Lawton are thematically aligned. As it stands, the movie is only worthy of around a 5/10. However, if you switch it off five minutes before the end and imagine the couple's fate yourself—or by using your imagination to create an ending based on Fuller’s original script—it becomes a very strong piece of film noir.

Source on TMDB