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Dark Passage (1947)

Approved | | Film-Noir, Thriller | 27 September 1947 (USA)
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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(screen play by), (from the novel by)
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Struggling artist Geoffrey Carroll meets Sally whilst on holiday in the country. A romance develops but he doesn't tell her he's already married. Suffering from mental illness, Geoffrey ... See full summary »

Director: Peter Godfrey
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Cast

Complete credited cast:
...
...
...
Bob
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Tom D'Andrea ...
Clifton Young ...
...
...
...
Rest of cast listed alphabetically:
...
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:

La senda tenebrosa  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The playing on the phonograph of "I Guess I'll Have to Change My Plan" as Vincent is recuperating at Irene's apartment after his surgery may have been an arcane wink to the audience. It was used in the previous Humphrey Bogart and Lauren Bacall movie The Big Sleep (1946), when Vivian Rutledge (Bacall) paid off Marlowe (Bogart) at the gambling joint-nightclub. See more »

Goofs

Shortly after Vincent arrives at George's apartment he sits down. (During this point of the movie we can only see things from Vincent's point of view.) When we see George step over to the window, the night stand is at Vincent's 10 o'clock position. Immediately after George says he can give Vincent a spare house key, the nightstand is now at Vincent's 12 o'clock position. See more »

Quotes

Bob: Just pick up the sofa and throw it at her. That'll make her catch on.
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Connections

Edited from San Quentin (1937) 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
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Existential Interiorization: Quite Unique
6 August 2015 | by (Kneeling In The Light) – See all my reviews

Spoilers Ahead:

This is a one of a kind treasure from the Bogie library. The entire first half of the movie is shot like you are inside of Bogie looking through his eyes. It has been imitated but never equaled. Starting from his exciting escape from San Quentin; with many close calls, that are both realistic and suspenseful, you need to have this in your library. You might think after Becall gets Parry back in her apartment it gets boring but no way. She has a plethora of visitors always almost catching Bogie. Bennett her old boyfriend, Madge played by the human tarantula Agnes Morehead; villains define the success or failure of movies, what till you get a load of her, what a sweetie. The plastic surgeon bit, ripped of in Minority Report, shamelessly, is done much better and believably here without all the crap of that overrated Stevie picture. As he hides out, they develop the characters and a believable romance builds between the two of them. This is the genius of the movie, it uses the stuck together Becall and Bogie to deepen the characters and provide real emotional connection to the burgeoning romance.

After he gets the bandages off, we switch back to the standard outside spectator point of view. I missed the novelty of being inside of Bogie; it is such a stroke of genius. How else to deepen your connection with him then to look through his eyes outside into the world? There are plenty of surprises with the jerk who gave Bogie a ride stalking him and trying to shake him down. If you know Bogie, this is never a very good idea. Also, Bogie has a showdown with the Black Widow villain of the movie Agnes Morehead. I will not spoil it for you the scene is well written and completely unpredictable; this is always the mark of a good screenplay: unexpected events. The film was attacked for spending too much time with Bogie hiding out with Becall, please, this develops their romance. The movie really is truly a romance but even I, a philosopher, enjoyed it. The romance is believable given their being trapped together. It is never maudlin or unbelievable. There are plenty of surprises and twists in this script; I have all of Bogie's movies; this is one of the ones I watch over and over. It is such a unique one of a kind movie.

Looking out at the world through Bogie's eyes; experiencing what he goes through is so existentially powerful. It makes you really sympathize with him. It is like no movie you have ever seen before. A Real Classic.


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