Barry Sulivan is a cynical gangster who controls the Neptune Beach waterfront. He runs a numbers racket with the local soda shop owner: the police are in his pocket and the local hoods are on his payroll.
A man who spent his formative years in prison for murder is released, and struggles to adjust to the outside world and escape his lurid past. He gets involved with a cheap dancehall girl, ... See full summary »
John Muller, medical school dropout and brilliant crook, plans a holdup which goes a little bit wrong, and finds vindictive gambler Rocky Stansyck after him. At the end of his tether, he stumbles onto a lucky chance to assume an impenetrable new identity as psychiatrist Victor Bartok. But irony piles on as Muller finds it's out of the frying pan, into the fire. Written by
Rod Crawford <firstname.lastname@example.org>
When John Muller attempts to duplicate Dr. Bartok's scar on his own face, he copies from a photograph of Dr. Bartok. Dr. Bartok's scar is on the left side of his face, so to Muller it appears on the right side of the photo, same as when you look at someone's face, their left ear will be on the right side of your field of vision. Muller simply copies what he sees and cuts a scar on the right side of his face. He is not seeing his face as others see it - he is seeing a mirror image. As a first time viewer I said "Aha! He is making the scar on the wrong side." Then he goes to the photo lab to retrieve the negative and after he leaves, the two men in the photo lab talk about how the photo was printed wrong, by reversing the negative, making the picture a "mirror image" of Dr. Bartok. So I said "Aha! His mistake in incorrectly copying the mirror image actually put the scar on the correct side of his face - the right side." Yet after Muller kills Dr. Bartok he discovers to his horror that the scar is on the left side of Dr. Bartok's face. The rest of the movie plays out based on the premise that Muller's scar is on the wrong side. The movie would have made sense with just the mirror scene or just the reversed negative scene. Either of those standing alone would have resulted in a mistake, but by including both, Muller would have had the scar on the correct side of his face, and he might have avoided his tragic fate. It seems the director, producer and studio never caught the mirror image error, or simply thought the audience would mentally make the same error Muller did when looking in the mirror. See more »
The Scar is a real sleeper. It seldom appears on anybody's list of essential films noirs. Yet, this independently produced gem contains the very essence of noir. Paul Henreid memorably creates the doomed main character who tries to change his own fate by taking advantage of a fantastic coincidence: recently released from prison, this career criminal sees a way to start fresh and at the top--he stumble upon a successful psychiatrist who is his exact double. Really a well-produced B movie, The Scar does utilize some plot cliches, but it proceeds with such unrelenting noir force, that its impact in undeniable. Directed by Steve Szekely in a Fritz Lang-influenced, this film should appeal to fans of The Woman in the Window or Scarlett Street. Highly watchable!!
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