British hunter Thorndike vacationing in Bavaria has Hitler in his gun sight. He is captured, beaten, left for dead, and escapes back to London where he is hounded by German agents and aided by a young woman.
Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry's friend Earl.
Toward the end of World War II, the allied secret service receives a partial message indicating that the Germans are researching nuclear energy to build atomic bombs. In Midwestern ... See full summary »
Chris Cross, 25 years a cashier, has a gold watch and little else. That rainy night, he rescues delectable Kitty from her abusive boyfriend Johnny. Smitten, amateur painter Chris lets Kitty think he's a wealthy artist. At Johnny's urging, she lets Chris establish her in an apartment (with his shrewish wife's money). There, Chris paints masterpieces; but Johnny sells them under Kitty's name, with disastrous and ironic results. Written by
Rod Crawford <firstname.lastname@example.org>
When Adele first questions Chris about Katherine March, the position of the knife he is holding drastically changes between shots. See more »
For he's a jolly good fellow. For he's a jolly good fellow. For he's a jolly good fellow... which nobody can deny. Which nobody can deny. Which nobody can deny. Which nobody can deny.
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Edward G. Robinson gives the most subtle - and possibly the greatest - performance of his career in this, the most depressing film ever made. Such a devastating ending is hardly possible these days, and indeed wasn't supposed to have been in 1945. "Immoral, corrupt and tending to incite crime," they called it, "A Hollywood movie we can do without." Perhaps the subversive ending was Lang's answer to those who had criticised his 'cop-out' ending for 'The Woman In the Window' a year earlier. The other two leads - Duryea and Bennett - are brilliant as well, and all the actors make us feel in the end that no one has got what they deserved. 'Scarlet Street' has so many beautifully subtle touches in it that it really has to be seen several times in order to be fully appreciated: the parallel between Kitty and Chris' flower (his 'problems with perspective'); the expression that flashes over Kitty's face when Chris 'confesses' that he's a married man; the brief reference at the beginning to Chris's superstition, which will eventually bring about his psychological downfall. Like many Lang films, it deals with the concept of criminal justice, and is a clever, cruel and fascinating film - a little dated technically, but far ahead of its time, and one of the greatest and blackest film noirs from the forties. The climax is still one of the most chilling in film history - more frightening than most of the great horror films.
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