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Dark Passage (1947)

7.6
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Ratings: 7.6/10 from 9,643 users  
Reviews: 113 user | 54 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)

Dark Passage (1947) on IMDb 7.6/10

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Cast

Complete credited cast:
...
...
...
Bob
...
Tom D'Andrea ...
Clifton Young ...
Baker
Douglas Kennedy ...
Detective Kennedy
Rory Mallinson ...
George Fellsinger
Houseley Stevenson ...
Dr. Walter Coley
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:

Two Of A Kind ! Tough . . . Torrid . . . Terrific ! 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:

Dark Passage  »

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

While Vincent Parry's face is changed by plastic surgery, his recognizable voice is never an issue. See more »

Quotes

Cabby: Nice looking suit you're wearing.
Vincent Parry: Thanks, and I don't feel chatty.
Cabby: Some fares like to talk.
Vincent Parry: Well I don't.
Cabby: You always that way?
Vincent Parry: Yep. That's why I don't have many friends.
See more »

Connections

Featured in Great Performances: Bacall on Bogart (1988) See more »

Soundtracks

Too Marvelous for Words
(uncredited)
Music by Richard A. Whiting
Lyrics by Johnny Mercer
Performed on record twice by Jo Stafford
Also played on the jukebox at the bus station
Also played at the cafe in Peru and during the end credits
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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