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46 out of 50 people found the following comment useful :- The penultimate film noir, 28 July 2004 Author: Mr_Mirage from Mishawaka, IN
I am of the firm belief that Orson Welles's Touch Of Evil is the ultimate film noir, but this little gem comes in at a very, very close second.The Lang direction and visual style is apparent on every frame, and the performance of Edward G. Robinson is among his best, and often strangely neglected.For me, the essence of noir films has as much to do with the bleak outlook on human existence as it does the visual sense, and at the very beginning of this film, we see (IMHO) the single, most perfect noir moment: Chris Cross (Robinson) is given a dinner, a nice little send off for a nice little man. On his way out, a friend asks if Chris is going to ride the train home, as is his normal pattern. Chris has something on his mind though, and chooses to walk instead.That one single moment, that one choice... and because of that, this man will lose his home, his wife, his career and the very thing that makes him want to continue, his art. One moment, one choice, and an entire life is destroyed.THAT is noir!
42 out of 44 people found the following comment useful :- A Brilliant Remake, 3 April 2002 Author: Zen Bones from USA
I've seen LA CHIENNE, and although most of SCARLET STREET is a remake, the two are entirely different films. LA CHIENNE is virtually a comedy. In fact, it begins with an introduction by puppets (!), so we know we're not to take the plot very seriously. Renoir's film is light and fun, and is very interesting to watch for comparisons of 'moral standards' between France and Hollywood.By now, you probably know the story. A sad little man gets involved with a prostitute and her pimp. Hollywood toned down the fact that Robinson and Bennett were involved in a sexual relationship, and the ending of the film had to live up to Hollywood's standards of 'morality'. I won't spoil it for those who haven't seen it yet, but needless to say, the endings between the two films differ in a major way.What makes SCARLET STREET so outstanding in my opinion, is that given the repressed nature of the protagonist, the film works better because of the changes. You can better understand the pressures of what living as a human doormat has done to this man, and how coiled up he really is. Edward G. Robinson gives one of the best performances of his career, which is saying a lot! I know, there will always be those who will insist on seeing him as the cigar-chomping tough guy only, and won't accept him as anything else, but SCARLET STREET showcases his more subtle talents and his enormous range. Joan Bennett is pure charm and snake oil in this, and Dan Duryea out-weasels Richard Widmark in KISS OF DEATH [in fact, I'll bet good money that the weasel toons in WHO FRAMED ROGER RABBIT were based on Dan Duryea's character!]. Hollywood films will always falter in comparison to other country's films because the industry's fear of offending audiences always dulls the blade of truth. But, at least during the classic era of Hollywood, the talent usually made up for the story flaws. What do you get when you put Fritz Lang, Edward G. Robinson, Joan Bennett and Dan Duryea together? Magic!
39 out of 43 people found the following comment useful :- Another compelling masterpiece from Fritz Lang!, 17 November 2004 Author: The_Void from Beverley Hills, England
It is often said of Fritz Lang that his American films aren't as good as the ones he made in Germany, and judging by the films of his that I've seen so far; this analysis is proving itself to be true...but damn, this one isn't far off. Scarlet Street is simultaneously compelling and unpredictable for it's duration; Lang truly knows how to plot a film, and that is evident throughout. The story follows a banker and aspiring painter, played to perfection by Edward G. Robinson, who saves a young woman from a purse snatcher one night while on his way home from a party. The two begin talking to each other, and the banker 'accidentally' tells the girl that he's paints pictures and gets a lot of money for doing so (Lang shows us the pitfalls of trying to impress young women by way of lies). However, all was not what it seemed with the purse-snatcher, and he's actually the young lady's fiancé; and when he learns that his girlfriend has a man with money after her.... he's out for all he can get!A lot of Lang's American oeuvre is concentrated on the American justice system and various other crime related things, and this one is no different. Scarlet Street professes that nobody can ever 'get away with murder', and the fantastic climax to the movie shows this masterfully; much more so than many other films that have tried to convey the same message have. Scarlet Street is drenched with irony throughout (ironically, it took a non-American to make an ironic American film). This irony ensures that the film stays interesting, as the audience is never able to guess what's around the corner. There's nothing worse than a predictable film, and Scarlet Street is certainly anything but. The movie is packed with stand out moments, but non stand out more so than the ending. I'm a big fan of horror films and have seen many; but many of those fail to be as chilling as the ending of Scarlet Street. The atmosphere that Lang creates is incredible, and it ranks one of the most powerful psychological mind games that I've ever witnessed on screen. If Fritz Lang set out to put people off murder with this film; I dare say he succeeded. I know I won't be murdering anyone after watching this!Overall; Scarlet Street is another Fritz Lang masterpiece. While not as mind blowing as Metropolis or as powerful as M; Scarlet Street fills a niche all of it's own. I rate this film as a 'must see', and I can almost guarantee that you will not be disappointed after seeing it.
33 out of 36 people found the following comment useful :- A defining film of classic Noir, 26 January 2005 Author: stephen-357 from United States
Chris Cross is a bank cashier who has just been given a gold watch by his boss for years of faithful service. Chris has three gifts, which are highly sought and cannot be bought: honesty, integrity and talent. The first two earned him the gold watch but the third is something he keeps to himself. He's a "Sunday" painter who paints from the inside out as a means of escaping his colorless life and loveless marriage. Chris is a man who loves beauty but has none himself, and so he fantasizes about some pretty girl that might see beyond his exterior to the man inside. And so one late rainy night chance places a beautiful damsel in distress in this path, and after saving the girl from the villain, he falls desperately in love and to his amazement, the girl loves him back. But things are not what they seem, and in a short while, Chris will trade in the three gifts he does possess for something he can never have. One of the defining films of Classic Film Noir.
18 out of 21 people found the following comment useful :- Film Noir with shades removed, 13 September 2001 Author: dbonk from Surrey, B.C.
SCARLET STREET is, no doubt, one of Hollywood's first mature forays into the relationship of a prostitute with her pimp and her client.Until 1945, the big screen's version of a 'lady of the night' was almost waif-like in her mien, casting innocent doe-like eyes at any gentleman who would like to share "a spot of tea" for a nominal fee. As portrayed by Joan Bennett, Kitty is cool,cynical, calculating, a 'ho' who is world weary and holds no illusions. Dan Duryea as her slick, slimy pimp/boyfriend, Johnny, matches Kitty scene for scene in the seediness of their relationship. "Lazylegs" is Johnny's term of affection for his Kitty when he's not cuffing her about openly on the streets.Then there's the third wheel to this tragic ride, Edward G. Robinson as the henpecked husband Chris Cross who also happens to be a frustrated weekend artist. Kitty sees Chris as a hearty meal ticket as Chris laps up Kitty's milk, little realizing that his dream girl is a nightmare in waiting.Director Fritz Lang's unflinching finale leaves the viewer drained of emotion. There is no Hollywood happy ending at the end of SCARLET STREET, just a back alley of guilt, punishment and shame.It is no coincidence that 'Melancholy Baby' is refrained throughout this flick. As played on Kitty's phonograph, the record is scratched and skips over and over at the same spot. For this recording is, like all the characters who reside on SCARLET STREET, damaged goods.
15 out of 16 people found the following comment useful :- I thought it good, memorable film noir, 22 August 2002 Author: cathy morris from Florida
I have never seen "La Chienne," the movie that others say this is based on. I can only say what of think of this film. I thought this film was interesting and sad, and I have seen it several times and enjoy it every time."Kitty" and "Johnny" are con artists who dupe a middle-aged lonely man into loving Kitty, who's a lazy whore. Robinson has a painting hobby that has never gone anywhere, and he criticizes his own work for lacking "perspective." But he's happy to show Kitty his work, pretending he is a successful artist.I have always liked Edward G. Robinson, in every role I have ever seen him in. In this film, he is married to an old, mean wretch of a woman, his job is really at a bank as a clerk, and when a younger, beautiful Joan Bennett pretends to be in love with him, he does everything he can to keep that love, even if it means going against the law to satisfy her demands for money. In turn, the woman "Kitty" and her boyfriend, start showing his artwork using her name, and amazingly, she is a sensation. He ultimately finds this out, and even so, only wants her love, and she turns on him harshly, saying she never cared for him, making fun of him, and crushes his heart. He goes berserk, and winds up lonely, haunted by the beauty he thought loved him.I thought this film was great film noir, and I enjoyed all the characters. Dan Duryea is at his best as a total piece of slime, Joan is a cruel, lazy beauty, and Robinson is just great in his role as a lonely, desperate man who only wants to be loved and admired.
19 out of 24 people found the following comment useful :- A great film from director Fritz Lang, 24 July 2003 Author: marxi from Louisville, Kentucky
*** This comment may contain spoilers ***
************************MILD SPOILERS AHEAD*****************************Edward G. Robinson is a diligent and mild mannered cashier who begins to envy his boss who has affairs with beautiful women and seemingly lives the good life. One dark night, he comes to the rescue of an attractive but gold digging woman, Kitty (Joan Bennett), who really doesn't love him, but thinks he is a talented and rich painter. He permits her to believe this because he is smitten with her. While he falls hard for her, she and her conniving boyfriend, Dan Duryea, run a scam selling his paintings, which turn out to be valuable after all. Edward G. Robinson's character is blinded by love and when he is finally convinced that Kitty won't ever be his, he snaps! The results are shocking.I've heard much about the famed director Fritz Lang, but this is his first film I've seen that I'm aware of, unless he directed the silent film Metropolis which it seems that he may have and which I didn't like all that well.Anyway, this is a great film! It's a morality tale and sometimes morality gets twisted when the good character goes bad and the bad characters get more that they bargained for from someone they thought was an easy target. It's wonderfully directed by the aforementioned director Fritz Lang. The movie gets better and better as it progresses. By the end, this old movie had me in it's clutches. Extremely watchable and entertaining, the director put together some extraordinary cinematic moments which pack a punch and linger in your memory. I was amazed by Edward G. Robinson's performance in the scene where his boss fires him. The tears in his eyes and the look of shame and defeat on his face are unforgettable. Edgar G. Robinson delivers a near genius performance. Joan Bennett and Dan Duryea are no slouches either. The real applause, however, needs to go to the director for many marvelous touches in this film and for a powerful climax that will impact you. I give this movie a 91/100. In my book, it's a classic or near classic film. Don't miss it!
13 out of 14 people found the following comment useful :- No Fool Like an Old Fool, 6 November 2006 Author: Hitchcoc from United States
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.
14 out of 17 people found the following comment useful :- A Masterpiece, 8 January 2007 Author: Claudio Carvalho from Rio de Janeiro, Brazil
In New York, after celebrating his twenty-fifth years as a cashier of a company and receiving a golden watch in a dinner party, the middle-aged amateurish painter Christopher Cross (Edward G. Robinson) protects a young woman, Katharine March (Joan Bennett), from an assault on the street by a young man, Johnny Prince (Dan Duryea), without knowing that he is her lover. Chris invites Kitty to drink a coffee in a bar, and presents himself as a successful and wealthy painter. The small time crook and caftan Johnny sees the chance to raise easy money and convinces the manipulative Kitty to take as much money as possible from Chris. He embezzles his company and steals his wife, and Kitty moves to a huge studio. Chris brings his paintings to the new address, and Johnny takes them for evaluation and they are considered masterpieces by an arts critic and by the owner of a gallery. Kitty pretends to be the painter, becomes famous, leading them to a tragic conclusion."Scarlett Street" is a masterpiece of film-noir: a magnificent sordid story, with sex and corruption, the femme fatale, and the losers, all the elements are presented in this movie. The direction of Fritz Lang is precise as usual, and Dan Duryea, Edward G. Robinson and Joan Bennett are simply fantastic. The conclusion, with Chris haunted by the ghosts, is excellent. My vote is ten.Title (Brazil): "Almas Perversas" ("Wicked Souls")
9 out of 9 people found the following comment useful :- Excellent noir by a master, 5 August 2007 Author: blanche-2 from United States
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.
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