Edit
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 <[email protected]>
Plot Summary
|
Plot Synopsis
Taglines:
IN DANGER AS VIOLENT AS THEIR LOVE!!! (one-sheet poster)
See more »
Edit
Did You Know?
Trivia
The actual Art Deco apartment building used in the film (located at 1360 Montgomery St in San Francisco) is still standing as of December, 2008. The actual apartment is marked by a cardboard cut-out of
Humphrey Bogart, which can be seen from the street. The site is visited frequently by fans of vintage film noir.
See more »
Goofs
Vincent Parry wore his bandages on his face for over two weeks but only had about two days of beard growth. The human male beard would grow about 3/4 to a inch in over two weeks on average for a man like Parry.
See more »
Quotes
George Fellsinger:
Gert didn't hate you. Gert just didn't care for you. There's a difference. She would have walked out on you if she'd have found somebody permanent. She wouldn't frame you when she was dying. She was no prize package, but she wouldn't frame you. Madge framed you. Madge wanted to hook you, and when she found she couldn't have you, she framed you, sent you up for life. We both know that.
Vincent Parry:
My attorney couldn't shake her story. Maybe someday she'll get run over or something.
George Fellsinger:
That's what I pray for ...
See more »
Connections
References
Confidential Agent (1945)
See more »
Soundtracks
Avalon
(uncredited)
Music by
Vincent Rose
(based on "E lucevan le stelle" in the opera "Tosca" by
Giacomo Puccini)
Played on the car radio at the beginning
See more »
Bogart's third teaming with Lauren Bacall was in "Dark Passage," a murder-mystery film which depended upon contrivances rather than good scripting to see it through
The film opened with the use of a subjective camera (MGM used it throughout their "Lady in the Lake" that same year) with Bogart's off-camera narration establishing the plot as we watch our hero escape from prison with the intent of finding the real murderer of his wife, the crime for which he had been wrongfully jailed
Once he meets up with Bacall and goes to a plastic surgeon, the subjective camera is forgotten as Bogart now utilizes his own face and carries on the investigation
"Dark Passage" was energetically directed and written by Delmer Daves who used some atmospheric location shots in San Francisco to underscore his drama The film included an unusual number of bizarre and eccentric characters, all competently played
Agnes Moorehead essayed a superb1y schizoid characterization as a bitchy "friend" of Bogart and his dead wife Bacall showed definite signs of improvement in her acting and Bogart was properly bitter, sour and nonplussed
For all practical purposes, this film marked the conclusion of Bogart's famous "image" period Now he was to forsake his romantic leading-man roles for acting assignments which he hoped would raise him to greater heights as a performer He was to succeed, in many cases, magnificently