Rijndri Load of rubbish!!

Whitech It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Blake Rivera If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

Art Vandelay Not sure I can recall a movie with more plot contrivances, or weak attempts to explain them away. How can you get invested when your intelligence is being insulted in every scene. Admittedly, the POV camera is a lot less irritating than in Lady of the Lake. It helps that we're either enjoying some fine supporting performances or gawking at Lauren Bacall. By the way, the POV camera on Bacall during the dinner scene allowed me to take a good long look at her eyebrows. They don't match her actual eyebrow line. They have a painted-on arch like a character in the 1960s Batman TV series. But goodness she was beautiful. This is a snoozefest, though. Who puts Bogey in a movie, only to have him invisible for 45 minutes and a head-bandaged mute for another 20? Maybe one of the most incomprehensible decisions in movie-making's Golden Era. I'd liken it to the Edsel and New Coke.

clanciai This is at the same time both one of the most romantic noirs and one of the darkest. Humphrey's situation is utterly hopeless, as he condemned for life escapes from San Quentin with no chance at all to get away with it, unless he changes his face, but even with that operation carried through successfully, he faces new overwhelming difficulties by murders and suicides and not a chance to prove his innocence. This is one of the main themes of most noirs: the helplessness of innocence to prove itself true, while all society seems united in attacking and prosecuting you for it, and in most noirs this struggle against impossible odds is not very successful. Here Humphrey finds Lauren Bacall who appears from nowhere and helps him on the way, while Agnes Moorehead does her best to ruin even that small chance of a break - she has never been more furious.The cinematography is fascinating, this is a forerunner of both Hitchcock's "Vertigo" and Frankenheimer's "Seconds", and the suspense is sustained all the way to the very end. It's certainly one of the best noirs of the forties, Franz Waxman's music helps in making it an accomplished cinematic masterpiece, and there is nothing wrong with the story. Only people lacking the sense of true romanticism could have any objection against the script.

lasttimeisaw A star vehicle for Bogart and Bacall, the third among their total four collaborations, DARK PASSAGE is produced in the apex of film-noir fad, Bogart plays Vincent Parry, a convict who has been accused of murdering his wife, is bent on finding the real killer after stowing away on a supply truck out of San Quentin prison in the opening scenes. A conspicuous gambit is from the word go, directer Delmer Daves has been obstinately taking a first-person perspective of the narrative, accompanied by Bogart's voice-over narrating his inner thoughts, but never puts Vincent's visage in front of the camera, not until well over an hour into the movie, would we see Bogart's weather-beaten face for the first time, simply because, before that point, Vincent doesn't have a face like Bogart's! It is a novel move to tap into the facing-changing gimmick, although the film ineptly takes oceanic artistic license to justify/simplify the whole enterprise, from the Good Samaritan cabbie ( D'Andrea), surely is a chatty loner, who implausibly proposes the idea to Vincent after recognizing him, a wife-murder on the lam, not even for a monetary gain, to a shaggy-dog looking doctor (Stevenson)'s seemingly dubious business, until the pitch-perfect debut of a brand new face without any traceable marks left (an in-joke is to make Vincent look older than his real age, at the expense of Bogart's senescent bearing and his May-December marriage with Bacall), it might be able to pull the wool over the eyes of audience at that time, but viewed as this day, unintentionally it looks more like droll derision to the orthopaedic progression than anything scintillating. Flimsy on reasoning and far-fetched in pigeonholing a grand scheme into a meagre group of players (perusing the not-so-long cast list, a film connoisseur could winnow out who would be most adequate to assume the role of final revelation without any trouble), in fact, the film's whodunit convolution undeservedly concedes the spotlight to the mawkish romance between Vincent and Irene Jansen (Bacall), that's the selling point! The latter, a strong-willed rich gal, incorrigibly falls for a presumed wife-murderer, her undoubted certitude of the former's innocence is thinly based on preconceived notion and if taking out of the context of the two stars' personal intimacy, their liaison doesn't make sense in either way, but as usual, the girl's motivation bears the brunt of character underdevelopment, since Bogart's Vincent at least evokes a dew-eyed veneer of passivity in all the pandemonium which can allure those soft-hearted.On the plus side, Ms. Moorehead is fiercely catty and menacing to a fault, Daves makes impressive uses of San Francisco's film-genic topography and its art deco trimmings, together with DP Sidney Hickox's sharply expressive deep-focus shots, on top of a cock and bull escapist tale tempered by a soupçon of schmaltz and a big chunk of wishfulness.

elvircorhodzic DARK PASSAGE is melodramatic romantic thriller, which in the first part we look through the eyes of the main character. The story has its drawbacks or rather continuous decline in the dynamics and struggles with a lack of tension. Set and Bogart performance elements of this film that I would call very good.The film is all developed separately. Nothing much is interwoven in the noir themes. The manhunt, romance and eventually obviously dismissal mysteries. Bogart's character is definitely stiff. It is interesting to hear his voice, and not see it. Unfortunately, he was in that part got the most space. The film which lacks action. Incidents are present, but quickly go limp. Climaxes almost non-existent.Humphrey Bogart as Vincent Parry, his appearance for the first time was not so impressive. The obvious failure. Bogart always bring a good performance, but I repeat, it was interesting to watch the movie from his perspective. Bogart's eye.Lauren Bacall as Irene Jansen won the space with the main actor. In scenes with Bogart she is pretty good. Simply work. If she focused it can be called a good chemistry.Agnes Moorehead as Madge Rapf is fast becoming the main villain, perhaps by mistake. It brings the most energy in the film and is quite intrusive character.Solid film in which experimentation and lost in some basic segments.