Women’s prison films became their own movie sub-genre in the 1950’s, and while many were low-budget exploitation endeavors, some have become strong examples of film noir, especially Caged (1950) in the United States, Dishonor (1952) in Argentina, and Miguel M. Delgado’s Cárcel de mujeres (US: Women’s Prison) in Mexico. Delgado’s production may be the most action-driven (a riotous run on the prison occurs in the final act) but it also establishes an intimacy between the inmates through a baby’s birth, which creates a bond of maternal generosity among the women (or, most of them), at one point inspiring them to sing to the child as a choir. Czech-born actress Miroslava plays Evangelina, a wealthy socialite falsely convicted of murdering her husband (Tito Junco), and Sara Montiel plays another inmate, Dora, who happens to be the former mistress of Evangelina’s “victim.” Other cons include Petrona (Emma Roldán), a madwoman who attempts to steal the newborn, and the probable lesbian Lupe played by Katy Jurado, who also had success in Hollywood and whose stark facial features appear even more dramatic in high-contrast noir lighting. Delgado uses the prison and its cell bars for visual thrills and doesn’t shy away from violence (raw fist fights, fire hoses, a sudden stab in the back).