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.
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 <email@example.com>
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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It is often said of Fritz Lang that his American films aren't as good as the ones he made in Germany, and judging by the films of his that I've seen so far; this analysis is proving itself to be true...but damn, this one isn't far off. Scarlet Street is simultaneously compelling and unpredictable for it's duration; Lang truly knows how to plot a film, and that is evident throughout. The story follows a banker and aspiring painter, played to perfection by Edward G. Robinson, who saves a young woman from a purse snatcher one night while on his way home from a party. The two begin talking to each other, and the banker 'accidentally' tells the girl that he's paints pictures and gets a lot of money for doing so (Lang shows us the pitfalls of trying to impress young women by way of lies). However, all was not what it seemed with the purse-snatcher, and he's actually the young lady's fiancé; and when he learns that his girlfriend has a man with money after her.... he's out for all he can get!
A lot of Lang's American oeuvre is concentrated on the American justice system and various other crime related things, and this one is no different. Scarlet Street professes that nobody can ever 'get away with murder', and the fantastic climax to the movie shows this masterfully; much more so than many other films that have tried to convey the same message have. Scarlet Street is drenched with irony throughout (ironically, it took a non-American to make an ironic American film). This irony ensures that the film stays interesting, as the audience is never able to guess what's around the corner. There's nothing worse than a predictable film, and Scarlet Street is certainly anything but. The movie is packed with stand out moments, but non stand out more so than the ending. I'm a big fan of horror films and have seen many; but many of those fail to be as chilling as the ending of Scarlet Street. The atmosphere that Lang creates is incredible, and it ranks one of the most powerful psychological mind games that I've ever witnessed on screen. If Fritz Lang set out to put people off murder with this film; I dare say he succeeded. I know I won't be murdering anyone after watching this!
Overall; Scarlet Street is another Fritz Lang masterpiece. While not as mind blowing as Metropolis or as powerful as M; Scarlet Street fills a niche all of it's own. I rate this film as a 'must see', and I can almost guarantee that you will not be disappointed after seeing it.
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