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A major box office hit in its day, despite being banned in three American states, Scarlet Street is seen by many as on of Fritz Lang s finest films during his American period. Its film-noire setting sees Edward G. Robinson in one of his most emphatic performances as a middle-aged cashier, Chris Cross, who has a chance meeting with the wayward Kitty (Joan Bennett). Trapped in an unfulfilling marriage and desperate to be a painter, Chris falls in love with Kitty. Kitty, however, is already under the spell of her conman boyfriend Johnny (Dan Duryea) and as Chris becomes obsessed with the irresistibly vulgar Kitty, Johnny senses an opportunity to extort money from the love struck cashier.
Review
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! --www.imdb.com
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. --www.imdb.com
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. --www.imdb.com
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Most Helpful Customer Reviews
14 of 14 people found the following review helpful
Format:DVD
Scarlet Street is a classical cinenoir. You have here femme fatale, a sucker and an evil cad. You name any characteristic of noir film and you have it here.But the film goes much beyond the standard clichées of noir film. That is the achievement of the director of the film,Fritz Lang. He has turned the film into the work of art.
Edward G.Robinson plays Christopher Cross, a cashier cum sunday painter, a sucker type. He is besotted with a young actress,Kitty March(Joan Bennett). She,in turn,is madly in love with a blackmailer Johnny(Dan Duryea). He wants her to abuse Cross's tender feelings for her to fleece him of big amounts of money.He wants the money for his dubious schemes that will lead him to the life on easy street. The way story proceeds,the sunday painter's works are sold for high prices,without him getting any credit or sou. The paintings were sold as the works of a reclusive Kitty March. Mr.Cross is still besotted with Kitty,in the meantime, he is free from his bad marriage by a twist in the story, wants to marry her.That is the moment of truth for him. She humiliates him,calls him a loser and in a fit of rage he kills Kitty.
Visually the film is stunning. That is the legacy of Fritz Lang, who was credited with bringing expressionist German art of his time into Hollywood films. The film has some dozen scenes shot through glass doors,or reflections in the mirror to create different planes of space and depth. The way camera moves,one has the feeling of being there.
For the ironies of life,watch carefully the court scene with different testimonies and opinions regarding the murder and Mr.Cross.Another great scene is when Johnny is led to the death chamber. That scene is a masterpiece in visual effects,almost three dimensional.The conflict of conscience scene with Mr.Cross at the end of the film is another memorable sequence.
The characters in the film are so well-defined and developed that they really go through the skin.
When I saw this film on DVD for the first time a few years back,it impressed me very much despite the poor video quality. I was waiting a long time for a good quality dvd transfer. This edition of the film does full justice to a great film with remastered dvd transfer. The dvd also supplies an excellent booklet on the main actors and the director.
A must in the collection of every film lover!!
Edward G.Robinson plays Christopher Cross, a cashier cum sunday painter, a sucker type. He is besotted with a young actress,Kitty March(Joan Bennett). She,in turn,is madly in love with a blackmailer Johnny(Dan Duryea). He wants her to abuse Cross's tender feelings for her to fleece him of big amounts of money.He wants the money for his dubious schemes that will lead him to the life on easy street. The way story proceeds,the sunday painter's works are sold for high prices,without him getting any credit or sou. The paintings were sold as the works of a reclusive Kitty March. Mr.Cross is still besotted with Kitty,in the meantime, he is free from his bad marriage by a twist in the story, wants to marry her.That is the moment of truth for him. She humiliates him,calls him a loser and in a fit of rage he kills Kitty.
Visually the film is stunning. That is the legacy of Fritz Lang, who was credited with bringing expressionist German art of his time into Hollywood films. The film has some dozen scenes shot through glass doors,or reflections in the mirror to create different planes of space and depth. The way camera moves,one has the feeling of being there.
For the ironies of life,watch carefully the court scene with different testimonies and opinions regarding the murder and Mr.Cross.Another great scene is when Johnny is led to the death chamber. That scene is a masterpiece in visual effects,almost three dimensional.The conflict of conscience scene with Mr.Cross at the end of the film is another memorable sequence.
The characters in the film are so well-defined and developed that they really go through the skin.
When I saw this film on DVD for the first time a few years back,it impressed me very much despite the poor video quality. I was waiting a long time for a good quality dvd transfer. This edition of the film does full justice to a great film with remastered dvd transfer. The dvd also supplies an excellent booklet on the main actors and the director.
A must in the collection of every film lover!!
6 of 6 people found the following review helpful
Format:DVD
Made just a year after Lang's The Woman in The Window, Scarlett Street is very much a follow up to that film. Although it isn't the same narrative, it uses the same principal actors from the previous, while exploring similar themes. While not the same in terms of cinematography, Scarlett Street rather builds its peculiar tension through the intricate relationships and connections between the characters, the lies, deceit and suspicions. While the audience might find its sympathy with Edward G. Robinson's character, there is not really any character in this that is not in some way very flawed or wronging someone else.
It is darker than The Woman in The Window, but less mysterious. Building less on formal principles, Scarlett Street is a looser film in terms of structure, but that doesn't diminish the straining tension which is built up as the narrative progresses. The films might seem on the surface to be fairly typical noir films, but Lang's films make themselves noteworthy from the rest of the genre with their uniquely intricate cinematography, complex relationships which strengthen the narrative and unnerving tension built up.
For some reason, it seems, Lang's American films haven't received as much attention as his early silent work, particularly M and Metropolis. But I do feel that his films are just as good, or indeed, even better than his European output. His films are dark, mysterious, ambiguous and subtle, interweaving the different elements that makes his films such intricate narratives, and I find his building of tension and meaning much more elegant than most directors of the same era. Fritz Lang was very much the equal of such masters as Max Ophüls, Alfred Hitchcock and Douglas Sirk. Perhaps because he wasn't very popular in Hollywood or because his films were very controversial was the reason for him later on not being as famous or talked about.
Still, The Woman in The Window and Scarlett Street are two excellent films, and are great introductions to the German master's work in Hollywood. Top class noir.
It is darker than The Woman in The Window, but less mysterious. Building less on formal principles, Scarlett Street is a looser film in terms of structure, but that doesn't diminish the straining tension which is built up as the narrative progresses. The films might seem on the surface to be fairly typical noir films, but Lang's films make themselves noteworthy from the rest of the genre with their uniquely intricate cinematography, complex relationships which strengthen the narrative and unnerving tension built up.
For some reason, it seems, Lang's American films haven't received as much attention as his early silent work, particularly M and Metropolis. But I do feel that his films are just as good, or indeed, even better than his European output. His films are dark, mysterious, ambiguous and subtle, interweaving the different elements that makes his films such intricate narratives, and I find his building of tension and meaning much more elegant than most directors of the same era. Fritz Lang was very much the equal of such masters as Max Ophüls, Alfred Hitchcock and Douglas Sirk. Perhaps because he wasn't very popular in Hollywood or because his films were very controversial was the reason for him later on not being as famous or talked about.
Still, The Woman in The Window and Scarlett Street are two excellent films, and are great introductions to the German master's work in Hollywood. Top class noir.
13 of 14 people found the following review helpful
Format:DVD
"Scarlet Street" was directed by Fritz Lang in 1945 and adapted for the screen by Dudley Nichols from the the French novel "La Chienne" (George de la Fouchardiere,1930). It had previous been filmed by Jean Renior in 1930 starring Michel Simon. With such classics as "Dr Mabuse: The Gambler"(1922), "Metropolis"(1927), "M"(1931) Lang established himself as a true innovator in German expressionist cinema and its that quality which he would take with him when he moved to Hollywood in the mid 30s. Lang can be credited as a major player in the development of Film Noir where imagery would become a significant part of the story. His first two American films "Fury"(1936) and "You Only Live Once"(1937) are often credited as two of the earliest examples of Film Noir before the 1940s. In 1944 and 1945 he made three classics of Film Noir: "Ministry of Fear", "The Woman in the Window"(1944) and "Scarlett Street"(1945). It can be difficult for younger audiences to appreciate what makes Lang so important because many of his cinematic innovations seem commonplace today but Lang's dark vision of modern metropoli and a deep sense of paranoia and fear was truly original at the time. "Scarlet Street" contains one of the most popular themes of Film Noir, a femme fatale luring an upstanding man into the whirlpool of the Noir world that makes it an entertaining genre to watch. The femme fatale character of Kitty performed brilliantly by Joan Bennett is for me quite possibly the finest examples of this type of character in Film Noir and can be traced back to German cinema like "Pandora's Box"(Pabst, 1929) and "The Blue Angel"(von Sternberg, 1930) There is a certain amount of physical and moral debasement of male characters at play in these films that serves as a key motif of Film Noir. Joan Bennett must surely be regarded on the same level as Gloria Graeme, Barbara Stanwyck, Rita Hayworth and Joan Crawford in similar roles. Film Noir buffs will not want to miss this essential and key work of Film Noir.
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Most Recent Customer Reviews
Great Film - very poor transfer
This review is NOT for the film. It is for the quality of transfer to the DVD. Beware, the visual quality of this DVD is shockingly bad.
Published 1 month ago by Jeppo
If he were mean or vicious or if he'd bawl me out or something, I'd...
Christopher Cross, in middle age, and in a life going nowhere and devoid of love and inspiration. Till one evening he rescues Kitty March from a mugger, it's the start of a... Read more
Published 10 months ago by Spike Owen
Film only reviewed.
If he were mean or vicious or if he'd bawl me out or something, I'd like him better.
Christopher Cross, in middle aged, and in a life going nowhere and devoid of love... Read more
Christopher Cross, in middle aged, and in a life going nowhere and devoid of love... Read more
Published 10 months ago by Spike Owen
Lang at his best, and looking good too
Fritz Lang's sourest and most compelling movie. Robinson is wonderful as the poor sap tormented by slutty Joan Bennett. One of the best and darkest examples of Film Noir. Read more
Published 13 months ago by Roy Earle
very poor transfer
When watching this film with this transfer, people not familiar with film history might think that in the 1940s movies and photography had just been invented. Read more
Published 14 months ago by Ralf Bader
The Streets Run Red
Film Noir is one of the only genres that you can get away with packing the film with unlikable people. Read more
Published 14 months ago by Sam
A great Fritz Lang film, with three masterful performances by...
When Christopher Cross (Edward G. Robinson), a meek, middle-aged cashier, ran one rainy night to the aid of Kitty March (Joan Bennett) who was being beaten by her boy friend,... Read more
Published 19 months ago by C. O. DeRiemer
Best picture quality
I am not writing about the movie itself. It is one of the best and most important film noir and I fully agree with the review of Alex Lehmann. Read more
Published on 28 Jan 2010 by Zoran Gonda
Big disappointment
A fine film noir almost totally ruined by the extremely poor quality of both sound and vision in this edition.
Published on 4 Oct 2009 by M. G. Holtom
dreadful print - fascinating film
The print of the film from which this DVD transfer was made would be among the worst I have seen. Enjoyment of the work is seriously impaired by the scratches, fading, jump cuts... Read more
Published on 9 Sep 2009 by W. Hamilton
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