Dark Passage [Blu-ray] (1947)

David Goodis On Screen

I became interested in this famous movie "Dark Passage" after reading the novel of the same name by David Goodis. Goodis' (1917 -- 1967) novels have been less well-known than the many movies based on them. I became fascinated with the author, in turn, after reading his novel "Down There", (which became the film "Shoot the Piano Player") and then read the Library of America volume which includes five Goodis novels including "Dark Passage". Fortunately, the movie was featured at "Noir City DC" a noir film festival held at the American Flim Institute,within a few months of my reading of the novel. I had the opportunity to see it in a beautiful old-fashioned theater on a large screen.

Written in 1946, "Dark Passage" was Goodis' second novel. Directed by Delmar Daves, the 1947 movie stars Humphrey Bogart and Lauren Bacall in the third of their four movies together. The movie tells the story of Vincent Parry who has been wrongly convicted of killing has wife and imprisoned in San Quentin. When he escapes from prison, a mysterious young woman, Irene Jansen, appears to help him. Most of the movie is set in San Francisco, where Parry is set-up with another murder and struggles to avoid recognition and arrest.

The movie stays close in story line and atmosphere to Goodis' novel. Both movie and film have as a theme the struggle of ordinary people to survive and make do in a tough world. Both have two women characters, one offering the possibility of love and redemption, (the Bacall character) while the other is a figure of evil and jealousy (Madge Rapf, played by Agnes Moorehead). The film follows the novel in its emphasis of city life, in the apartments, back streets, taxis, hotels, cable cars, and lonely people of San Francisco. The movie does not have the full introspective character of Goodis' novel or the rhythmical, lyrical character of its prose.

The early scenes of the movie are presented from the point of view of Parry as he escapes from prison. The plot centers upon Parry's attempt to change his face and his identity by having an underground but brilliant plastic surgeon (Dr. Coley performed by Houseley Stevenson) operate on his face. Parry's face is bandaged for much of the film, and the viewer sees it for the first time only when the bandages are removed. I thought the use of this point-of-view technique worked effectively. The scenes between Bogart and Bacall build in tension until Parry and Irene admit to their love for one another. The movie ends less ambiguously than does the book.

Most people who read Goodis' novel probably do so through the movie rather than the other way around. I enjoyed seeing this film version of a book and novelist I have come to appreciate. I am also pleased with the opportunity to explore noir film, through this film and others, in "Noir City DC", and to continue reading Goodis and other noir literature.

Robin Friedman

Great movie. If you love Bogie must add to collection.