director Delmer Daves
Dark Passage is one of the great San Francisco noirs. Directed by Delmer Daves, a native of the city, the movie features a litany of shots around both San Francisco and Marin, capturing the City by the Bay in its state of being in the late 1940’s.
But that’s just one angle on the film.
It’s Bogey and Bacall in their third screen pairing. It’s also the great Agnes Moorehead in a nasty, venomous role.
It’s also the big breakthrough for pulp crime novelist David Goodis, an adaptation of his novel of the same name that had been serialized in the Saturday Evening Post and would wind up his most well-known work for years beyond his death.
I think that the last time I watched Dark Passage, I had just recently read the novel, and I had more of an issue with the film’s notable first-person camera perspective that hides Humphrey Bogart from the camera through the first entire hour. This time through it, I enjoyed that gimmicky approach, enjoyed the approach of the whole film, flecked with great character performances throughout. (The best sequence is the plastic surgery one, with the disgraced artist surgeon and the sly cab driver).
“Ever see a botched plastic job?”
Dark Passage isn’t Goodis’s best novel, but it’s a great film noir, worth taking in for a number of reasons or angles.