La fuga

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!

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.

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.

Watching a "feature" on the DVD the other day after viewing this movie, it was interesting to hear that "Dark Passage" was never a popular film despite the headliners being Humphrey Bogart and Lauren Bacall.

That was because studio head Jack Warner was displeased that Bogart's face wasn't shown for the first half of the film and so he didn't give the movie much publicity. The fact Bogey's face didn't appear for quite a while apparently didn't settle well with the public, either.

That was their loss: this is a fine film. The stars of it, really - the actors who put the spark in the story - aren't Bogey and Bacall anyway but the supporting actors. I can't recall a movie where the supporting cast was so good, so entertaining, as in this film.

Before naming them, let me preface by saying Bogart and Bacall still give good performances and Bacall still had a face in those early days that was mesmerizing BUT the people who make this movie click are:

Tom D'Andrea as the cab driver; Houseley Stevenson as the strange and extremely interesting plastic surgeon; Clifton Young as the blackmailer; Tory Mallison as Bogart's old best friend and Agnes Moorhead as the villainous snoop. These people are fantastic.

As an escaped convict on the run, we only see what Bogart sees until plastic surgery turns him into the familiar face we recognize. That sort of thing - seeing only what one character sees, using the camera as his eyes, was done in another noir, "Lady In The Lake," but not done as successfully as in this film. Here, it works as we meet these other weird characters as Bogart sees them. Actually, every character including Bacall's, is a bit odd. The script doesn't always make sense, either, to be honest, but it's fun to play along.

It was a simple but effective story with some neat twists along the way and pretty good suspense here and there, too. I think it's a very underrated film noir and very glad the long-awaited DVD gave it a nice transfer. This is another example of a classic film that looks far better on DVD than it ever did on tape. I hadn't realized how well-photographed this movie was until I saw it on disc.

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