Dark Passage (1947) is a Warner Bros. film noir directed by Delmer Daves and starring Humphrey Bogart and Lauren Bacall. The film is based on the novel of the same name by David Goodis. It was the third of four films real-life couple Bacall and Bogart made together.The film is notable for its first third being shot entirely from the point of view of Bogart's character, Vincent Parry, his face never seen. The story follows Parry's attempts to hide from the law and clear his name of murder.

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. 

Synopsis

Convicted wife-murderer Vincent Parry escapes from San Quentin in the back of a garbage truck. He hitches a ride with a man named Baker, but when the announcement of his escape is broadcast over the car radio, Vincent knocks out Baker and steals his clothes. While he is hiding the unconscious man, painter Irene Jansen stops her car nearby. Although Vincent does not know Irene, she knows his name and offers to help him. At her apartment in San Francisco, Irene explains that she followed his trial carefully because her father, who died in prison, was wrongly convicted of his wife's murder, and she believes Vincent is also innocent. While Irene shops for new clothes for Vincent, a woman knocks on the door, and Vincent recognizes her voice as belonging to Madge Rapf, the shrewish friend of his dead wife whose testimony was responsible for his conviction. Irene later reveals that she is dating Madge's former fiancé, Bob. That night, Vincent leaves Irene's apartment, planning to look for evidence on the real murderer. He is picked up by Sam, a taxi driver, who recognizes him and offers to introduce him to plastic surgeon Walter Coley. Vincent waits for his appointment at the apartment of his only friend, musician George Fellsinger. When the operation is over, Vincent returns to George's, planning to stay there until his face is healed, but he discovers that George has been murdered in the meantime. Not knowing where else to go, Vincent walks to Irene's. Outside her apartment, he sees Baker's car, but decides that its presence is only a coincidence. Irene and Vincent soon learn that he has been accused of George's murder. Once his face is healed, Vincent, using the name Alan Lynell, again sets off to prove his innocence. He checks into a hotel where Baker accosts him and demands $60,000 in blackmail. When Vincent protests that he has no money, Baker informs him that Irene is wealthy and insists that Vincent drive him to Irene's apartment. During the drive, Baker tells Vincent that he can get a fake passport at a town in Arizona. Before they get to Irene's, Vincent overcomes Baker and questions him. He learns that he was followed to George's apartment by someone in an orange convertible. Then the two men struggle, and Baker falls to his death over a cliff. Vincent next visits Madge, who owns an orange convertible, and accuses her of murdering his wife and George. Madge admits that she killed Vincent's wife because she was in love with him, and when he rejected her, she framed him for the murder. Vincent asks Madge to sign a confession, but she refuses and jumps to her death. With Madge's death, there is no way for Vincent to prove his innocence. He telephones Irene and asks her to meet him at a certain town in Peru, and one day, much later, she does.

Cast & Crew

Delmer Daves Director
Humphrey Bogart as Vincent Parry [also known as Alan Lynell]
Lauren Bacall as Irene Jansen
Bruce Bennett as Bob
Agnes Moorehead as Madge Rapf
Tom D'Andrea as Cabby, Sam
Clifton Young as Baker
Douglas Kennedy as Detective
Rory Mallinson as George Fellsinger
Houseley Stevenson as Dr. Walter Coley
Bob Farber as Policeman
Richard Walsh as Policeman

Release Date 27 Sep 1947
Color/BW  Black and White
Sound Mono (RCA Sound System)
Production Dates late Oct 1946--late Jan 1947
Duration (in mins) 106
Premiere Information New York opening: week of 6 Sep 1947
Distribution Company Warner Bros. Pictures, Inc.
Production Company Warner Bros. Pictures, Inc.
Country United States

FILM REVIEW:-
Dark Passage (1947) Original NY TIMES September 6, 1947
"Dark Passage,' Warner Thriller, in Which Humphrey Bogart and lauren Bacall Are Chief Attractions, Opens at Strand
By BOSLEY CROWTHER
Published: September 6, 1947

     The city of San Francisco, which is liberally and vividly employed as the realistic setting for the Warners' "Dark Passage," now at the Strand, scores the major pictorial triumph in this melodramatic tale of love which has Humphrey Bogart and his helpmeet, Lauren Bacall, as its ordinary stars. For Writer-Director Delmar Daves has very smartly and effectively used the picturesque streets of that city and its stunning panoramas from the hills to give a dramatic backdrop to his rather incredible yarn. So, even though bored by the story—which, because of its sag, you may be—you can usually enjoy the scenery, which is as good as a travelogue.

As for the over-stretched fable, it is that of a cruelly-wronged man who, escaped from San Quentin prison, is harbored and befriended by a nice girl who has a most cozy apartment on one of San Francisco's hills. Her odd generosity towards him is because her father, too, was wrongly jailed—a not very logical reason but no less credible than other dodges in the film. At least, the reason is sufficient to triangulate the two for a slowly-developing romance amidst a man-hunt of somewhat tedious length.

The fact that Mr. Bogart gets a gun in his hand but once—and then only threateningly employs it—may be one explanation for the sag which perceptibly comes in the picture along about half-way through. The fact, too, that Mr. Daves has given his actors less action than talk and has overextended slight incidents is another obvious reason for the sag. Mr. Daves has also confused things by using a subjective camera at the start, so that it sees things as through the eyes of a fugitive, and then has switched to the conventional use later on.

This technique withholds Mr. Bogart from the audience's observation for some time—until a fast job of plastic surgery has supposedly been performed on his face. When he finally does come before the camera, he seems uncommonly chastened and reserved, a state in which Mr. Bogart does not appear at his theatrical best. However, the mood of his performance is compensated somewhat by that of Miss Bacall, who generates quite a lot of pressure as a sharp-eyed, knows-what-she-wants girl.

Agnes Moorehead is also quite electric in a couple of scenes as a meddlesome shrew and Tom D'Andrea, Clifton Young and Houseley Stevenson are vivid in minor roles. Indeed, it is in the bizarre contacts of Mr. Bogart with shady characters such as those played by these well-directed actors that "Dark Passage" achieves tension and drive. Perhaps he should be given more time with them. No reflection upon Miss Bacall, of course.

On the stage at the Strand are Borrah Minevitch's Harmonica Rascals, Dorothy Keller, the Marshall Brothers and Victor Lombardo and his orchestra.

DARK PASSAGE: Screen play by Delmer Daves; from the novel by David Goodis; directed by Delmer Daves; produced by Jerry Wald for Warner Bros.-First National. At the Strand.
Vincent Parry . . . . . Humphrey Bogart
Irene Jansen . . . . . Lauren Bacall
Bob . . . . . Bruce Bennett
Madge Rapf . . . . . Agnes Moorehead
Sam (Cabby) . . . . . Tom D'Andrea
Baker . . . . . Clifton Young
Detective . . . . . Douglas Kennedy
George Fellsinger . . . . . Rory Mallinson
Dr. Walter Coley . . . . . Houseley Stevenson

 
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