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Scarlet Street (1945)

Approved | | Drama, Film-Noir, Thriller | 28 December 1945 (USA)
When a man in mid-life crisis befriends a young woman, her venal fiancé persuades her to con him out of the fortune they mistakenly assume he possesses.

Director:

Writers:

(novel) (as Georges De La Fouchardiere), (novel) (as Mouezy-Eon) | 1 more credit »
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Cast

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Mrs. Michaels (as Anita Bolster)
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Dellarowe
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

Taglines:

The GREAT STARS and DIRECTOR of "Woman in the Window" See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

28 December 1945 (USA)  »

Also Known As:

Almas Perversas  »

Box Office

Budget:

$1,202,007 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Is the first of two remakes Fritz Lang made of Jean Renoir's films. Whilst La Chienne (1931) inspired "Scarlet Street" (1945), La bête humaine (1938) inspired Human Desire (1954). Notoriously, Renoir disliked both. See more »

Goofs

When Chris and Kitty are walking to their table in the bar, the shadow of a technician's arm moves across the ceiling. See more »

Quotes

[first lines]
Bank Employees: [singing] 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.
[repeat chorus]
See more »

Connections

Featured in Crime Wave: 50 Movie Mega Pack (2016) See more »

Soundtracks

Melancholy Baby
(uncredited)
by Ernie Burnett and George A. Norton
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Frequently Asked Questions

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User Reviews

A Brilliant Remake
3 April 2002 | by (USA) – See all my reviews

I've seen LA CHIENNE, and although most of SCARLET STREET is a remake, the two are entirely different films. LA CHIENNE is virtually a comedy. In fact, it begins with an introduction by puppets (!), so we know we're not to take the plot very seriously. Renoir's film is light and fun, and is very interesting to watch for comparisons of 'moral standards' between France and Hollywood.

By now, you probably know the story. A sad little man gets involved with a prostitute and her pimp. Hollywood toned down the fact that Robinson and Bennett were involved in a sexual relationship, and the ending of the film had to live up to Hollywood's standards of 'morality'. I won't spoil it for those who haven't seen it yet, but needless to say, the endings between the two films differ in a major way.

What makes SCARLET STREET so outstanding in my opinion, is that given the repressed nature of the protagonist, the film works better because of the changes. You can better understand the pressures of what living as a human doormat has done to this man, and how coiled up he really is. Edward G. Robinson gives one of the best performances of his career, which is saying a lot! I know, there will always be those who will insist on seeing him as the cigar-chomping tough guy only, and won't accept him as anything else, but SCARLET STREET showcases his more subtle talents and his enormous range. Joan Bennett is pure charm and snake oil in this, and Dan Duryea out-weasels Richard Widmark in KISS OF DEATH [in fact, I'll bet good money that the weasel toons in WHO FRAMED ROGER RABBIT were based on Dan Duryea's character!]. Hollywood films will always falter in comparison to other country's films because the industry's fear of offending audiences always dulls the blade of truth. But, at least during the classic era of Hollywood, the talent usually made up for the story flaws. What do you get when you put Fritz Lang, Edward G. Robinson, Joan Bennett and Dan Duryea together? Magic!


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