Dark Passage

Bogey is an escaped prisoner. Bacall helps him stay escaped. To maintain his anonymity he has a face-change operation.

It is a gimmick film, but the gimmick doesn't just serve its own purpose - it highlights a theme of faces, and what faces tell you about the person beneath.

You can tell when something is being explored onscreen for the first time - its done more thoroughly and more excitedly than it ever will again. Think back to that first film about the phenomenon of email (Disclosure) or the internet (The Net), or what about the first film exploring chronology-changes (Citizen Kane) or hide-the-protagonist (The Third Man), or the excitement of acting (Streetcar Named Desire). That initial excitement is never really matched again - after that it becomes just another device, or a reference. The thing here is partly first-person narration (this came out the same year as Lady in the Lake), but wholly plastic surgery, the idea of changing your appearance.

First-person narration is actually quite rare in cinema. Lady in the Lake is one of the only examples where they stick with it for an entire picture, resorting to gimmicks like having Robert Montgomery looking in a mirror. Its used to great effect in the first half of Dark Passage, in order to hide Bogart's face. It was partly mechanical. Its a face-change movie. Instead of starting with Bogart and changing his face to a different actor, they wanted to pretend he looked like a different person (which we only see in a few photographs), and then after the operation he just looks like Bogart. But what the device of hiding his face does is create suspense, and focus on the issue of faces, which is a recurring theme throughout.

And it works to the positive for this film: what's the best way to hide someone's face? Put us behind their eyes! You never see your own face unless you're looking in the mirror. So until his operation, we see through Bogey's eyes - and the result is quite cinematic. It really frees up the movie, unshackling it from the static trappings of most studio pictures of this era. Instead of us just looking on from the edge of a set, which ends up looking like a stage, we're really taken into the action - its marvellous!

And, to save the best till last - Bacall absolutely burns up the screen in this. She sets the celluloid on fire. Any single shot of her in this movie is magic. Just being onscreen and being magic, its the definition of the X-factor.

9/10. What a star-vehicle for Bogey. This was his Third Man. And Bacall is sensational!

Set in San Francisco, "Dark Passage" stars Humphrey Bogart as an escaped convict who was found guilty of killing his wife, and Lauren Bacall, as the woman who helps him.

The Bogart character knows someone framed him for the murder and is desperate to get away from the police. To accomplish this, with the help of a chatty cab driver (Tom D'Andrea), he has his face changed by plastic surgery.

Though Bogart's distinctive voice is present throughout, the first part of the film uses the subjective camera, a la "Lady of the Lake." In "Lady of the Lake," the camera was at all sorts of odd angles and at one point, focused on a mirror where the viewer could see the face of Robert Montgomery.

In this film, the camera is less obtrusive. Either that, or because it's an icon like Bogart, the viewer pictures him even though he's not on camera. After the plastic surgery, Bogart is revealed.

The plot is okay, but it's really an excuse for great chemistry between the two stars, a rich atmosphere, and some wonderful cinematography. The idea of loneliness is everywhere; it's in the bus station, it's in the isolated way that the Bacall character lives. And it's also about taking a chance and reaching out.

Bogart gives a strong and honest performance, putting his presence to good use as he dominates the film even when only his voice is used.

Bacall is at the height of her sultry beauty, with her luxurious hair framing a perfect bone structure, pouty lips, and sensuous eyes. She is absolutely fantastic to look at and listen to, and she imbues the role with vulnerability as well as a feeling of cold isolation and the loneliness she feels.

The supercouple gets wonderful support from Tom D'Andrea, the Gillis of the Riley series I grew up with, Agnes Moorhead as a nasty friend of Bacall's, Bruce Bennett, and Houseley Stevenson as the excellent but borderline maniacal plastic surgeon. One almost expected thunder and lightning after he spoke.

Very entertaining, highly recommended, and I loved the ending.

Even if she has only two or three scenes she steals them all.And it speaks volumes when the stars are Bogart and Bacall.

This is my favorite B/B among the four films they made together."The big sleep" has a plot I've never understood -Hawks used to say it was the same to him-,"to have and to have not" fails to excite me (Bogart a resistant and Gaulliste at that!"Key Largo",on the other hand, is a close second to Daves' movie .

Not that the subjective viewpoint/camera was that much new.Robert Montgomery filmed his hero the same way in 1946 ("Lady in the lake" ,and we only saw his reflection in the mirrors).Hitchcock knew the technique as well and he used it with virtuosity during short sequences.But Daves who is best remembered for his westerns ("broken arrow") pulls it off effortlessly.The depth of field gives a dreamlike atmosphere to the first sequences with Bacall and the surgeon -dream which becomes nightmare during the operation when Bogart sees in his bad dream all the characters involved in the story- There are plot holes of course,particularly Madge 's character .Parry is in Irene's house and presto here she comes.It takes all Agnes Moorehead's talent to give this woman substance.

The first third is Bogartless,as an user points out.But he could add that the last third is almost Bacallless too.

Only the ending,which I will not reveal of course ,is not worthy of a film noir!Maybe the producers imposed it.

While the least-known and, really, the least impressive of the Bogart/Bacall features, this is still a solid, if rather offbeat, movie that combines a film-noir atmosphere with a gimmick that is meant to drive most of the story. The gimmick works moderately well, though it is really just a diverting sideline to the main drama and acting, which are what really make the movie work.

The premise is interesting enough, at least for a while, and it is interesting to see just how long they can go without showing the face of Bogart's character. They might have stretched it out just a bit too long, since there is more than enough in the rest of the plot to make any further use of the device unnecessary. Bacall and Bogart work together well from the beginning. In itself, the pairing works almost as well here as in their three better-known movies together - it's just that here there is a less for them to work with.

The two stars do get plenty of help from Agnes Moorehead, who plays her role with relish. Tom D'Andrea and Bruce Bennett help out when they get the chance. Delmer Daves also creates a generally believable atmosphere to serve as the background to the story, and to help get it past the less plausible stretches. Overall, while hardly up to the high standard of the other Bogart/Bacall pairings, "Dark Passage" is a solid if unspectacular feature that is worth seeing if you like the stars and/or the genre.

Sadly, or perhaps not, most condemned prisoners do not have a dame, a dude, and a plastic surgeon around to break their falls when they escape. But when Bogart busts out of the big house, San Quentin, the Good Samaritans start popping up like dandelions. His method of escape is to throw himself down a steep incline in a steel barrel. The cameraman rides tandem and becomes his eyes and point-of-view. Bogart hitches a ride with a nosy fellow I've seen before in the movies. He has deep-set eyes and a divot in his chin. Bogart quickly dispatches the mug to dreamland and ventures out into an uncertain landscape of creeps and coppers. Instead, Bogart catches a break: he discovers he has a groupie played by Lauren Bacall. She is out painting landscapes when she hears the bulletin over the radio. She knows everything about his case. She even sat in the courtroom during his trial. She felt he got a raw deal. The dude he meets is a close friend who plays the horn. He allows Bogart safe haven to rest. Incredibly, Bogart steps into the cab of yet another sympathetic character. The cabbie guides him to a doctor who wields a wild scalpel. Bogart's ex-flame also knows Bacall--and is a royal pain in the neck. The coincidences pile up higher than The Golden Gate Bridge. Bogie and Bacall may have more well known films on their resumes, but this one will keep a big fat smile on your face.