Dark Passage (1947)
In this film, Humphrey Bogart heads the cast as an escaped convict, wrongly accused of his wife's murder. With the help of friendly cabbie Tom D'Andrea, Bogart makes contact with sympathetic plastic surgeon Housley Stevenson. With his new face, Bogart seeks out the actual murderer.
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Critic Reviews for Dark Passage
The structure and character sense of the David Goodis novel are intact, and a full-throttle supporting cast has a ball with meaty parts.
The story is involving, the atmosphere is as starkly noir as anything Bogart participated in, and the dynamic between the leads is as conspicuous as ever.
This thriller is not quite up to the best Hitchcock, but it does prove that Delmer Daves is a man to watch. And The Dark Passage is a picture to see.
What starts out as a thriller switches en route into a sagging, psychological drama, but recovers in time to give out with the satisfying gory stuff.
Even though bored by the story -- which, because of its sag, you may be -- you can usually enjoy the scenery, which is as good as a travelogue.
An example of how star power can compensate plot, this is the least electric of the Bogart-Bacall pairings; luckily, there's Agnes Moorehead, the screen's best hornet, to intervene whenever the going gets too lackadasical.
Dark Passage isn't a particularly good film - there's a lot of disparate elements that never quite sew themselves together. It's a crazy patchwork made up of different pieces of other movies.
The plot has some admirable twists and turns and Agnes Moorehead, as the villainess, has three wonderfully showy scenes.
Moody noir semi-classic with Bogie and Bacall.
Maybe not one of the great noirs, but certainly one of the good ones.
Bogart's Parry sure is a guy with plenty of trouble and Bacall provides intelligent and gutsy succour, but this competent and interesting thriller just never quite makes it to classic status.
Audience Reviews for Dark Passage
Bogie and Baby again, baby, this time in San Francisco, where she picks up an escaped con on the lam and brings him home ... okay, so maybe its a smidgen unbelievable, just a tad, a wee bit, but who cares, its Bogart and Bacall. Agnes Moorehead is great, too, all controlled hysteria and a voice like nails over a chalkboard.More
Though not on the level as the other Bogart/Bacall classics, this surprisingly experimental film noir has plenty to enjoy. Also great images of 1940's San Francisco.More
A good chance to watch Bogart and Bacall getting emotional. I found this noir quite entertaining but some events and decisions made by the characters were a tad far fetched, and the ending was too pleasing for my taste.More
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