Drawing on internal studio correspondence, multiple screenplay drafts and the final
film, this essay reconstructs the production history of Cornered to explore the ways
in which Scott both compromised with and challenged the studios expectations and
interventions. I argue that although Ceplair and Englund are correct in their
assessment that studio meddling shaped the films political content in significant
ways, Scotts complex negotiations during the films production ensured that Cornered
remained a powerfully anti-fascist film.