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La strada scarlatta

Titolo originale: Scarlet Street
  • 1945
  • T
  • 1h 42min
VALUTAZIONE IMDb
7,7/10
20.487
LA TUA VALUTAZIONE
La strada scarlatta (1945)
Scarlet Street: Are You An Artist?
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CrimineDrammaFilm noirThrillerTragedia

Quando un uomo in crisi di mezza età fa amicizia con una giovane donna, il suo fidanzato venale la convince a truffarlo dalla fortuna che credono erroneamente che possieda.Quando un uomo in crisi di mezza età fa amicizia con una giovane donna, il suo fidanzato venale la convince a truffarlo dalla fortuna che credono erroneamente che possieda.Quando un uomo in crisi di mezza età fa amicizia con una giovane donna, il suo fidanzato venale la convince a truffarlo dalla fortuna che credono erroneamente che possieda.

  • Regia
    • Fritz Lang
  • Sceneggiatura
    • Georges de La Fouchardière
    • André Mouëzy-Éon
    • Dudley Nichols
  • Star
    • Edward G. Robinson
    • Joan Bennett
    • Dan Duryea
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,7/10
    20.487
    LA TUA VALUTAZIONE
    • Regia
      • Fritz Lang
    • Sceneggiatura
      • Georges de La Fouchardière
      • André Mouëzy-Éon
      • Dudley Nichols
    • Star
      • Edward G. Robinson
      • Joan Bennett
      • Dan Duryea
    • 195Recensioni degli utenti
    • 118Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 3 candidature totali

    Video1

    Scarlet Street: Are You An Artist?
    Clip 0:48
    Scarlet Street: Are You An Artist?

    Foto128

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    Interpreti principali66

    Modifica
    Edward G. Robinson
    Edward G. Robinson
    • Christopher Cross
    Joan Bennett
    Joan Bennett
    • Katharine 'Kitty' March
    Dan Duryea
    Dan Duryea
    • Johnny Prince
    Margaret Lindsay
    Margaret Lindsay
    • Millie Ray
    Rosalind Ivan
    Rosalind Ivan
    • Adele Cross
    Jess Barker
    Jess Barker
    • Damon Janeway
    Charles Kemper
    Charles Kemper
    • Homer Higgins
    Anita Sharp-Bolster
    Anita Sharp-Bolster
    • Mrs. Michaels
    • (as Anita Bolster)
    Samuel S. Hinds
    Samuel S. Hinds
    • Charles Pringle
    Vladimir Sokoloff
    Vladimir Sokoloff
    • Pop LeJon
    Arthur Loft
    Arthur Loft
    • Dellarowe
    Russell Hicks
    Russell Hicks
    • J.J. Hogarth
    Richard Abbott
    • Critic at Gallery
    • (non citato nei titoli originali)
    John Barton
    • Hurdy-Gurdy Man
    • (non citato nei titoli originali)
    Rodney Bell
    • Barney
    • (non citato nei titoli originali)
    Ted Billings
    • Vendor
    • (non citato nei titoli originali)
    Richard Cramer
    Richard Cramer
    • Principal Keeper
    • (non citato nei titoli originali)
    Dick Curtis
    Dick Curtis
    • Detective
    • (non citato nei titoli originali)
    • Regia
      • Fritz Lang
    • Sceneggiatura
      • Georges de La Fouchardière
      • André Mouëzy-Éon
      • Dudley Nichols
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti195

    7,720.4K
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    10

    Recensioni in evidenza

    9hitchcockthelegend

    If he were mean or vicious or if he'd bawl me out or something, I'd like him better.

    Christopher Cross, in middle aged, and in a life going nowhere and devoid of love and inspiration. Till one evening he rescues Kitty March from a mugger, it's the start of a relationship that has far reaching consequences for them, and those closest to them.

    The previous year director Fritz Lang had made The Woman In The Window, a film that was hugely popular with critics and fans alike. Here he reunites from that excellent film with Edward G. Robinson, Joan Bennett and Dan Duryea, the result being what can arguably be described as one of the best exponents of Film Noir's dark sensibilities. Adapting from works by André Mouézy-Éon and Georges de La Fouchardière (novel and play), this story of desperate love and greedy deceit had already had a big screen adaptation from Jean Renoir in 1931 as La chienne, which appropriately enough translates as The Bitch! Now there's a Noir title if ever there was one! What Lang does with this adaptation is drip his own expressionism all over it, whilst crucially he doesn't ease off from the harsher aspects of the story. This is nasty, cruel stuff, and with Lang at the time feeling a bit abused and used by the studio system he was slave to, who better to darkly cloak a sordid story with a biting edge? Is it purely coincidence that Lang took on this film about a struggling artist who's vision is stifled by another? Possibly not one is inclined to feel.

    Edward G. Robinson is fabulous as the pathetic Chris Cross. Married to a wife who constantly heckles and belittles him (Rosalind Ivan), Robinson's take on Cross garners empathy by the shed load, so much so that once Kitty (Bennett) and her beau, Johnny Prince (Duryea), start to scheme a scam on Chris, the audience are feeling as desperate as Cross was himself at the start of the movie. Few noir guys have so meekly fell under a femme fatale's spell as the way Cross does for Kitty here. But such is Lang's atmospherics, you not only sense that it's going to go bad, you expect it to, and naturally Robinson is just the man to punch us in the guts with added impetus. Bennett and Duryea are very convincing, almost spitefully enjoying taking the hapless Robinson character for everything they can, and the visuals, especially during the bleak, shadowy last couple of reels, cap the mood perfectly.

    This film is in truth probably saying more about its director than anything else that he made. And in fact it was said to be one of his all time favourites. That's nice to find out because it finds him on particularly good, and yes, devilish form. Grim, brilliant and essential film noir. 9/10
    Snow Leopard

    Good, Tense Drama With Some Fine Performances

    This is a good, tense drama that builds up an interesting 'noir' story that includes some rather creative story elements. It has several strengths, but most of all it features three fine performances by Edward G. Robinson, Joan Bennett, and Dan Duryea. It's also easy to see Fritz Lang's skilled hand at work in the story-telling, mood, and pacing.

    Robinson shows his skill and versatility in portraying a mild-mannered bank cashier who really wants nothing more than the chance to dabble in his painting, before getting caught up in a complicated situation. Bennett is quite effective as the opportunistic young woman who befriends him, and Dan Duryea adds his presence and ability to very good effect - Duryea had the knack of portraying this kind character as well as anyone. His appearance in any film-noir always seemed to make an average movie good and a good movie even better.

    The story is developed carefully, as Robinson's character slowly begins to realize that he has gotten into a situation beyond his control. By the time that things come to a head, the tension is considerable. The ending is also rather resourceful, in being carefully written so as to satisfy the stringent requirements of the production code of the era while also ending the story in a way that seems appropriate and fitting to the tone of the movie as a whole.

    All of this adds up to make "Scarlet Street" a fine movie that is well worth seeing, especially for fans of film-noir.
    stephen-357

    A defining film of classic Noir

    Chris Cross is a bank cashier who has just been given a gold watch by his boss for years of faithful service. Chris has three gifts, which are highly sought and cannot be bought: honesty, integrity and talent. The first two earned him the gold watch but the third is something he keeps to himself. He's a "Sunday" painter who paints from the inside out as a means of escaping his colorless life and loveless marriage. Chris is a man who loves beauty but has none himself, and so he fantasizes about some pretty girl that might see beyond his exterior to the man inside. And so one late rainy night chance places a beautiful damsel in distress in this path, and after saving the girl from the villain, he falls desperately in love and to his amazement, the girl loves him back. But things are not what they seem, and in a short while, Chris will trade in the three gifts he does possess for something he can never have. One of the defining films of Classic Film Noir.
    8blanche-2

    Excellent noir by a master

    Fritz Lang does a wonderful job directing "Scarlet Street," a true film noir from 1945 starring Edward G. Robinson, Joan Bennett and Dan Duryea. A miserable, henpecked man, Chris (Robinson) falls in love with a prostitute, Kitty, and she starts milking him for money with the encouragement of her abusive boyfriend Johnny (Duryea). Chris is a cashier who has just reached his 25th year of service; he's also a part-time painter. He steals bonds from his wife, who is the widow of a police detective, and sets Kitty up in an apartment where he can also paint since all his wife does is complain about him cluttering up their place. He believes that Kitty is an actress and that Johnny is the boyfriend of Kitty's ex-roommate. You really want to slap him. His stealing escalates; meanwhile, Johnny and Kitty are passing his art work off as Kitty's, and she's making a name for herself. Instead of killing her then and there, Chris is happy about it, believing that he's a failure and could never have sold a painting, and continues providing her with art work. We assume she and Johnny are getting the money.

    Alas, there probably are desperately lonely and unhappy men like Chris with footprints all over their bodies, though Chris seems pretty gullible even by 1945 standards. Robinson, however, does a fantastic job in helping us understand why Chris is the way he is. He's a simple, shy, self-effacing man who just wants someone to love him and enjoy his hobby of painting, and Kitty pays lip service to that while she's sleeping with Johnny. It seems that just to bask in her presence is enough for Chris.

    Using the backdrop of New York City, Lang has directed this with magnificent style and flair, making it one of the most famous noirs of all time. And the performances are top notch. It's amazing how much Joan and Constance Bennett looked alike when they were both blond, but they were very different actresses. Constance had a great deal of sophistication; Joan did better playing tramps. She had a low voice and could be very sexy, and she made a stunning brunette. I saw her in person in the late '80s and was surprised at how tiny she was given how tall she looks here. If anyone has seen the "Gone with the Wind" screen tests, she was one of the most beautiful Scarletts. Here she's very convincing talking out of both sides of her mouth, telling Chris that she loves him and Johnny that she loves him. Duryea is phenomenal as a very unlikable con man, and the two make a great couple.

    But the character of sad Chris hangs over the film due to Robinson's performance with his shy smile and nervous manner. When his anger emerges, it's years and years worth of it. Unfortunately, he's basically too good a man not to hate himself for actions committed in a rage, and in true Hollywood fashion, he goes the way of most men who let themselves be made fools of by women.

    A really, really great film. Lang was difficult to get along with, and as the studio system diminished, the powers that be were less willing to put up with him, so his last Hollywood films can't compare with those he did at the top. This is top Lang. Don't miss it.
    8Hitchcoc

    No Fool Like an Old Fool

    It's hard to see that your youth has escaped you. It happens to us all. The sad personage of Christopher Cross is very touching. He has seen his life pass with a nice gold watch all he has to show for it. His wife is ugly and mean spirited, his work is dull. He is quite a good painter but hasn't time to do anything about it. Them "she" comes into the picture. All those charms, sexy, vulnerable, and evil, with a connection to Dan Duryea (what a cad) to boot. When the Robinson Character comes to her rescue, it's Johnny (Duryea) who is slapping her around. She is perceptive enough to believe that the well dressed older man must have money, and, if she plays her cards right, she can squeeze him for money. He falls, hook, line, and sinker, and really believes she cares about him. Not only is she an opportunist, she even uses his art as her own to get more money. Because he is moonstruck, he lets her go on and on. There is a subplot concerning his wife's first husband and some other things, but he slowly descends the path to destruction. Everyone watching the movie knows that the poor sap is going to get his at some point. The way it happens is a bit of a stretch. Chris should really feel very little guilt; he is victimized all long the way. But in film noir, the dark elements demand their pound of flesh. He is paid for his foolishness and trust.

    Trama

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    Lo sapevi?

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    • Quiz
      According to Ben Mankiewicz on TCM, when first released, local censor boards in New York, Milwaukee and Atlanta banned this film entirely for being "licentious, profane, obscure, and contrary to the good order of the community".
    • Blooper
      The story takes place in 1934, but all of Margaret Lindsay's and Joan Bennett's clothes, shoes, and hairstyles are strictly in the 1945 mode; fashions had changed considerably during the intervening eleven years. The featured taxicab is a late-1930s vintage, about three years too new.
    • Citazioni

      Adele Cross: Next thing you'll be painting women without clothes.

      Christopher Cross: I never saw a woman without any clothes.

      Adele Cross: I should hope not!

    • Versioni alternative
      Also available in a computer colorized version.
    • Connessioni
      Edited into Michael Jackson's This Is It (2009)
    • Colonne sonore
      Melancholy Baby
      (uncredited)

      by Ernie Burnett and George A. Norton

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    Dettagli

    Modifica
    • Data di uscita
      • 14 ottobre 1946 (Italia)
    • Paese di origine
      • Stati Uniti
    • Siti ufficiali
      • Streaming on " Top Classic Movies" YouTube Channel (colorized)
      • Streaming on "Artflix - Movie Classics" YouTube Channel
    • Lingua
      • Inglese
    • Celebre anche come
      • Scarlet Street
    • Luoghi delle riprese
      • Universal Studios - 100 Universal City Plaza, Universal City, California, Stati Uniti(Studio)
    • Aziende produttrici
      • Fritz Lang Productions
      • Walter Wanger Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 1.202.007 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 42 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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