Dark Passage (1947)

Calificación de los usuarios:

7.5/10   

Director:

Delmer Daves

Escritores:

Delmer Daves (screenplay)
David Goodis (novel)

Fecha de Lanzamiento:

27 septiembre 1947 (USA)

Género:

Cine Negro | Suspenso

Frase comercial:

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

Plot:

Bogart plays a man convicted of murdering his wife who escapes from prison in order to prove his innocence...

Plot Keywords:

Escape From Prison | Plastic Surgery | First Person Camera | Police | Peru

Comentarios de los usuarios:

Fascinating film noir

Reparto

Humphrey Bogart	...	Vincent Parry
Lauren Bacall	...	Irene Jansen
Bruce Bennett	...	Bob
Agnes Moorehead	...	Madge Rapf
Tom D'Andrea	...	Cabby (Sam)
Clifton Young	...	Baker
Douglas Kennedy	...	Detective
Rory Mallinson	...	George Fellsinger
Houseley Stevenson	...	Dr. Walter Coley

También conocida como:

La senda tenebrosa (Spain) [es]

Duración:

106 min

País:

USA

Idioma:

Inglés

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (RCA Sound System)

Clasificación:

Argentina:Atp | Germany:16 | Norway:16 | USA:Approved (PCA #12248) | Canada:PG (video rating) | UK:15 (1988) | UK:A (1947) (cut) | Australia:PG | Finland:K-16

Locaciones de Filmación:

Filbert Steps, Filbert Street, San Francisco, California, USA

Compañía:

Warner Bros. Pictures

Trivialidades:

Franz Waxman's main title music for this movie is exactly the same as that used in To Have and Have Not (1944), for which he was uncredited.

Errores:

Anacronismos: Vincent Parry wore his bandages on his face for over two weeks but only had about two days of beard growth. The human male bread would grow about 3/4 to a inch in over two weeks on average for a man like Parry.

Citas:

Baker: I learned some things that even I never knew before.

Conexiones de Película:

Apareció en The Best of Film Noir (1999) (V)

Banda de Sonido:

Avalon

Fascinating film noir

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.