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Dark Passage (1947)

7.6
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Ratings: 7.6/10 from 10,482 users  
Reviews: 116 user | 58 critic

A man convicted of murdering his wife escapes from prison and works with a woman to try and prove his innocence.

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(screenplay), (novel)
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Title: Dark Passage (1947)

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Cast

Complete credited cast:
...
...
...
Bob
...
Tom D'Andrea ...
Clifton Young ...
Douglas Kennedy ...
Rory Mallinson ...
Houseley Stevenson ...
Rest of cast listed alphabetically:
John Alvin ...
Blackie (scenes deleted)
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Storyline

Bogart plays a man convicted of murdering his wife who escapes from prison in order to prove his innocence. Bogart finds that his features are too well known, and is forced to seek some illicit backroom plastic surgery. The entire pre-knife part of the film is shot from a Bogart's-eye-view, with us seeing the fugitive for the first time as he starts to recuperate from the operation in the apartment of a sympathetic young artist (played by Bacall) for whom he soon finds affection. But what he's really after is revenge. Written by Mark Thompson <mrt@oasis.icl.co.uk>

Plot Summary | Plot Synopsis

Taglines:

TOGETHER...AND TORRID AGAIN! (original print media ad - all caps) See more »


Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

27 September 1947 (USA)  »

Also Known As:

Das unbekannte Gesicht  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Between the film's unorthodox "first person perspective" and Bogart's negative press from his support of the Committee for the First Amendment established in the face of the hearings being done by the House Un-American Activities Committee led to the film having a poor performance at the box office. See more »

Goofs

In the beginning of the movie, part of the canvas over the truck is attached. Next shot it is all free. See more »

Quotes

Bob: I never met Parry. But I know psychologically he's no killer. He was just dumb.
Madge Rapf: What makes you think *you're* so smart. All you know is T-squares and drafting boards and not even much about them or anything else!
Bob: We've been through all of that before! A couple of hundred thousand times. A couple of hundred thousand years ago when I was a monkey and thought I wanted to marry you.
Madge Rapf: I could say plenty!
Bob: That's very true. Even Parry must have enough sense by this time to stay away from that...
Madge Rapf: [...]
See more »

Connections

Referenced in The Big Lebowski (1998) See more »

Soundtracks

I Guess I'll Have to Change My Plan
(uncredited)
Music by Arthur Schwartz
Played on the phonograph when Vincent is at Irene's apartment after the surgery
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Fascinating film noir
15 November 2000 | by (London, UK) – See all my reviews

Wow, we are really asked to believe a lot in this film. Typically movies can only get away with one or two unlikely plot elements, but somehow I still enjoyed 'Dark Passage' despite numerous key elements' implausibility.

The film opens to a shot of convicted felon Parry (Bogart) in a barrel in back of a truck headed down the road. He shakes the barrel, takes a nasty roll and staggers out. It's just the first of many doubt-inducing sequences.

The film, with its plot problems aside, is really an excellent film noir study. We are taken through most of the first half of the film from the first-person Parry (Bogart) view. I found this fascinating, despite wooden dialogue and continuous unrealistic steadiness of the camera. I think the base story of 'Dark Passage' is superb, with all its film noir elements. I especially like the first-person view, which then transforms through a surrealistic imagery scene of plastic surgery, into the normal third-person view.

One plot element I particularly take issue with is that, although Parry gets a new face, we are asked to believe that his distinctive Bogart voice cannot be recognised by the closest of his acquaintances. He makes no effort whatsoever to account for this, and this is given no thought in the slightest.

The film is one I would personally love to make - I would like to direct the thing myself, and revise the script a bit, make it more real in dialogue and plot primarily. This is a feeling I've not oft encountered, because I've almost always felt a director has done, even when he presents a wrong point of view, a better job than I could do. Due to my love for the story here I was torn - torn I tell you - in my selection of a vote for this film, but arrived at 7. I took off for the unrealistic factors, but made sure to preserve the respectability of the film. It is, incontestably, a classic - and in my opinion, just because a film is old doesn't mean it is. I respect this film.


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Don't Get Me Wrong, I Loved It, BUT... jmiller1918
Something has always bothered me about this film mryerson
did anyone else think Agnes Moorehead was kinda hot? beavertoof
Newspaper photo of Vincent Parry cldistefano
Time for a remake? Jack_and_Pike
Irene's Apartment + Other Settings Ariane1998
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