La rue rouge

Edward G. Robinson gives the most subtle - and possibly the greatest - performance of his career in this, the most depressing film ever made. Such a devastating ending is hardly possible these days, and indeed wasn't supposed to have been in 1945. "Immoral, corrupt and tending to incite crime," they called it, "A Hollywood movie we can do without." Perhaps the subversive ending was Lang's answer to those who had criticised his 'cop-out' ending for 'The Woman In the Window' a year earlier. The other two leads - Duryea and Bennett - are brilliant as well, and all the actors make us feel in the end that no one has got what they deserved. 'Scarlet Street' has so many beautifully subtle touches in it that it really has to be seen several times in order to be fully appreciated: the parallel between Kitty and Chris' flower (his 'problems with perspective'); the expression that flashes over Kitty's face when Chris 'confesses' that he's a married man; the brief reference at the beginning to Chris's superstition, which will eventually bring about his psychological downfall. Like many Lang films, it deals with the concept of criminal justice, and is a clever, cruel and fascinating film - a little dated technically, but far ahead of its time, and one of the greatest and blackest film noirs from the forties. The climax is still one of the most chilling in film history - more frightening than most of the great horror films.

Scarlet Street (1945)

It starts slowly, with little bits of intrigue and a lot of empathy for Edward G. Robinson's character, Chris Cross, a lonely cashier with dreams of being in love. And then he sees a man hitting a young woman on the street, and he rushes to help her. Things start a torturous, complicated, fabulous decline from there. The woman sees how Cross finds her beautiful, but Cross, it turns out, is unhappily married. And petty, selfish cruelty turns to many worse things.

Fritz Lang, the Austrian director now firmly settled into Hollywood, is not known for cheerful movies (he directed M, for one), and this one draws on so much empathy, and heartbreak, and finally downright shock and surprise, it's breathtaking. Great film-making, beautiful and relentless. The woman, Joan Bennett, comes alive on the screen, duplicitous and raw. Her boyfriend, Dan Duryea, is perfect Duryea, clever and annoying and as usual, coming out less than rosy.

The cinematographer, Milton Krasner, has so many richly brooding and dramatic films to his credit, it's almost a given that we will be invisibly swept into every scene (and much of the action takes place in an apartment almost tailor made for great filming, with glass doors, and two levels to look up or down from). The story is key, based on a novel by Georges de La Fouchardière, little known here, but he wrote "La Chienne," the basis for Jean Renoir's second film (1931), where the film announces to the audience that it is about, "He, she, and the other guy . . . as usual." And that describes Scarlet Street just as well, for starters.

Lang is credited as one of the key shapers of the film noir style, and that certainly applies visually. It lacks that film noir key of a young man at odds with post-War America, but it does have a man, alone, at odds with the world. Chris Cross is a pathetic creature, far more naive than most of us could ever be, but yet we identify with him because he represents innocence swept up in a world more sinister than we expect. He's a victim, in a way, but also the cause of his own troubles.

And troubles they are. What a story, what a film. Dark, wrenching, and unpredictable. Very Fritz Lang.

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.

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.

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