Dark Passage

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The message addressed to the audience [ Cinematographer Sid Hickox takes full advantage of the location setting, presenting documentary proof of Bogart in San Francisco.

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As evidenced by passersby and other annoying pests caught on camera, glancing and lingering as filming occurs on location at the corner of Powell and Market Streets, site of the famous streetcar turntable. At the bus station, Bogart buys a movie ticket and the camera shifts attention to a woman with two children and a man viewers seated in a row, waiting for the bus for the movie. She really does, having contributed to the production of the film.

Documentary style privileges the continuity of real-life locations, spatially, while the subjective camera technique produces an illusion of continuous flow, temporally. Dark Passage is the first Hollywood feature shot with a small, portable Arriflex 35 camera originally designed for hand-held use on documentaries and newsreels. Shots of actual locations and ordinary people going about their daily business prompt us to suspend our disbelief in the illusion created by the film medium and accept what we see on screen as real.

His actions seem authentic rather than performed. Approximating how human beings actually see, when we look at our hands and feet. The hands and feet likely do not belong to the same person. His hallucination has the continuous flow of an inner reality. I had a shoulder holster, made to keep [the camera] at eye level, which was developed at Warner Bros.

At first I thought how simple, just have the [camera operator] stand and do it all. Every shot was a problem, and instead of cutting I did whips.

Humphrey Bogart: Dark Passage 1947 p2

I whipped the camera, if we turn quickly, we whip, and I did the next shot to cut in on that whip. Carter and Nelson write:. Of the quartet of films starring celebrity couple Humphrey Bogart and Lauren Bacall, their third film, Dark Passage , was the least well received. The storytelling and stylistic hybridity of the film may prevent casual viewers from inferring a coherent story, from registering the sense in the nonsense.

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Ultimately director Delmer Daves aims to demythologize Bogart and Bacall, to dilute the posturing associated with their celebrity identities and performed roles in favor of representing how they know themselves as married artists working on location. Despite the postwar taste for realism in film and the fascination with Bogart and Bacall as a real-life couple, reviewers and audiences preferred the melodrama of performed roles in To Have and Have Not and The Big Sleep over the reality of working artists in Dark Passage Auteur critics have likewise tended to favor genre mythologizers and celebrity directors such as John Ford and Howard Hawks over de-mythologizers and working artists such as Delmer Daves.

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For a discussion of how the star image is constructed not only in films but also in promotion, publicity, commentaries and criticism, see Richard Dyer, Stars London: BFI Publishing, , Volume 1 Berkeley: University of California Press, , Warner Bros. According to Rick Worland in "Humphrey Bogart and Lauren Bacall: Tough Guy and Cool Dame," "Bogart and Mayo frequently engaged in physical as well as savagely emotional combat fueled by alcohol, jealousy, and rage, and often in public" In Dark Passage , cab driver Sam interrogates Bogart about his life history.

She just hated my guts," replies Bogart. We might just as readily classify monkey as realism and bulldog as expressionism. In keeping with structural analysis, what is significant is not the content of each term but rather the formal relation of the terms. The use of the terms monkey and bulldog are an example of totemism, wherein human beings use nature especially animals to think differences in culture.

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Despite being panned by critics and reviewers, Dark Passage earned a respectable 3 million, on par with To Have and Have Not 3. London: Wylie-Blackwell, , Viewers today would be hard pressed not to register the unconscious racism in these remarks. The shots of Dr. Murnau, , a classic German expressionist film. Simpson Princeton: Princeton University Press, , Pomerance, Moment of Action , Pope, Chronicle of a Camera , Dutton, , Jonathan Rosenbaum.

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Skip to main content Skip to quick search Skip to global navigation. Film Criticism. Quick search:. Volume 42 , Issue 1 , March Figure 1. Figure 2. Bogart about to lose his shirt, both literally and figuratively. Figure 3. Figure 4. Figure 5.

Bogart and Bacall felt they got a raw deal, given the scandal-sheet tactics of the newspapers. Figure 6.

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Director Delmer Daves, architect of the film, pictured in the newspaper as architect Calvin Jansen. Figure 7. Figure 8. Sam the cabbie, gesturing from face to heart, thinks a character he picked up in his cab should have left her face unlifted and that the film remain classical rather than modernist.

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Figure 9. Coley asks, as he preps Bogart for an operation. Perhaps he should be given more time with them. No reflection upon Miss Bacall, of course. At the Strand. Vincent Parry.


Dark Passage. Written and directed by Delmer Daves

Humphrey BogartIrene Jansen. Lauren BacallBob. Bruce BennettMadge Rapf. Agnes MooreheadSam Cabby. Tom D'AndreaBaker. Clifton YoungDetective. Douglas KennedyGeorge Fellsinger. Rory MallinsonDr. Walter Coley. Houseley Stevenson. See the article in its original context from September 6, , Page 0 Buy Reprints. View on timesmachine. TimesMachine is an exclusive benefit for home delivery and digital subscribers. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

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