It ranks among my preferred initial portrayals of the brutal realities within prison walls, centering on the experiences of young “Marlowe” (Robert Montgomery), who receives a ten-year sentence following a car accident resulting in someone's death. Understandably, he’s deeply apprehensive—especially upon discovering that he will be housed alongside “Morgan” (Chester Morris) and convicted murderer “Butch” (Wallace Beery). The governor (Lewis Stone) and the head warden (George F. Marlon) seem inclined to offer some understanding; however, they acknowledge that placing this inexperienced and vulnerable young man with individuals of their caliber isn't likely to improve his odds of staying alive or becoming a better person. He quickly realizes there’s an unwritten code he must adhere to, primarily the importance of honesty with prison staff. When he is unwittingly drawn into violating that principle, it provokes “Morgan,” who subsequently has his parole revoked! However, "Marlowe" isn't really the one being targeted; when “Morgan” decides to escape regardless, he turns his attention towards “Marlowe’s” sister, “Annie” (Leila Hyams), on the outside. It becomes a question of whether she might ultimately have a more positive and restorative influence on this former thief than his time spent incarcerated. For me, Beery's gruff, menacing presence truly dominates the film, though Morris and Montgomery also provide strong performances as this rather harsh examination of shortcomings within the prison system—a collection of problematic individuals—is presented. The script maintains concise dialogue, and the direction effectively conveys a feeling of the dangerous confinement that was present in their packed setting where a survival-of-the-fittest mentality and isolation methods comparable to those used with Spartacus were still commonplace.

Source on TMDB