| Photos (see all 29 | slideshow) | Videos (see all 2 NEW) |
| Humphrey Bogart | ... | Vincent Parry | |
| Lauren Bacall | ... | Irene Jansen | |
| Bruce Bennett | ... | Bob | |
| Agnes Moorehead | ... | Madge Rapf | |
| Tom D'Andrea | ... | Cabby (Sam) | |
| Clifton Young | ... | Baker | |
| Douglas Kennedy | ... | Detective | |
| Rory Mallinson | ... | George Fellsinger | |
| Houseley Stevenson | ... | Dr. Walter Coley | |
| rest of cast listed alphabetically: | |||
| John Alvin | ... | Blackie (uncredited) | |
| John Arledge | ... | Lonely man (uncredited) | |
| Leonard Bremen | ... | Bus ticket clerk (uncredited) | |
| Clancy Cooper | ... | Man on street (uncredited) | |
| Deborah Daves | ... | Child with Aunt Mary (uncredited) | |
| Michael Daves | ... | Michael - Child with Aunt Mary (uncredited) | |
| Tom Fadden | ... | Diner Counterman Serving Parry (uncredited) | |
| Bob Farber | ... | Policeman (uncredited) | |
| Mary Field | ... | Aunt Mary (uncredited) | |
| Ross Ford | ... | Ross (bus driver) (uncredited) | |
| Craig Lawrence | ... | Bartender (uncredited) | |
| Ian MacDonald | ... | Policeman in bus depot (uncredited) | |
| Dude Maschemeyer | ... | Man (uncredited) | |
| Patrick McVey | ... | Impatient taxi driver (uncredited) | |
| Ray Montgomery | ... | Theatre Usher in Trailer (uncredited) | |
| Tom Reynolds | ... | Hotel clerk (uncredited) | |
| Ramon Ros | ... | Waiter (uncredited) | |
| Shimen Ruskin | ... | Driver (uncredited) | |
| Jo Stafford | ... | Singer (uncredited) (voice) | |
| Richard Walsh | ... | Policeman (uncredited) | |
Directed by | |||
| Delmer Daves | |||
Writing credits | ||
| Delmer Daves | (screenplay) | |
| David Goodis | (novel "Dark Passage") | |
Produced by | |||
| Jerry Wald | .... | producer | |
| Jack L. Warner | .... | executive producer | |
Original Music by | |||
| Franz Waxman | |||
Cinematography by | |||
| Sidney Hickox | (as Sid Hickox) | ||
Film Editing by | |||
| David Weisbart | |||
Art Direction by | |||
| Charles H. Clarke | |||
Set Decoration by | |||
| William L. Kuehl | (as William Kuehl) | ||
Makeup Department | |||
| Perc Westmore | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Richard Maybery | .... | assistant director (uncredited) | |
Sound Department | |||
| Dolph Thomas | .... | sound | |
Special Effects by | |||
| Hans F. Koenekamp | .... | special effects photography (as H.F. Koenekamp) | |
Stunts | |||
| Bob Morgan | .... | stunts (uncredited) | |
| Allen Pomeroy | .... | stunts (uncredited) | |
Costume and Wardrobe Department | |||
| Bernard Newman | .... | wardrobe | |
Music Department | |||
| Leo F. Forbstein | .... | musical director | |
| Leonid Raab | .... | orchestral arrangements | |
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| Strangers on a Train | The Fugitive | G-Men Never Forget | The Big Clock | Basic Instinct |
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Bogart's third teaming with Lauren Bacall was in "Dark Passage," a murder-mystery film which depended upon contrivances rather than good scripting to see it through
The film opened with the use of a subjective camera (MGM used it throughout their "Lady in the Lake" that same year) with Bogart's off-camera narration establishing the plot as we watch our hero escape from prison with the intent of finding the real murderer of his wife, the crime for which he had been wrongfully jailed
Once he meets up with Bacall and goes to a plastic surgeon, the subjective camera is forgotten as Bogart now utilizes his own face and carries on the investigation
"Dark Passage" was energetically directed and written by Delmer Daves who used some atmospheric location shots in San Francisco to underscore his drama The film included an unusual number of bizarre and eccentric characters, all competently played
Agnes Moorehead essayed a superb1y schizoid characterization as a bitchy "friend" of Bogart and his dead wife Bacall showed definite signs of improvement in her acting and Bogart was properly bitter, sour and nonplussed
For all practical purposes, this film marked the conclusion of Bogart's famous "image" period Now he was to forsake his romantic leading-man roles for acting assignments which he hoped would raise him to greater heights as a performer He was to succeed, in many cases, magnificently