Scarlet Street (1945)
Country: US
Technical: bw 102m
Director: Fritz Lang
Cast: Edward G. Robinson, Joan Bennett, Dan Duryea
Synopsis:
An honoured employee sees his boss leave with a floozie and gets ideas above his station when he rescues a working girl from her pimp.
Review:
Lang's follow up to The Woman in the Window (with Walter Wanger at Universal) toys with the same archetypes as its predecessor, except that this time there is no nightmare to wake up from. Every character is engaged with misrepresenting the truth, and again a painting is the vehicle of that misrepresentation. We see how love induces an honourable man to overcome one qualm after another until he is prepared to commit murder: it is one of the director's most pessimistic films, and like many it hinges on a miscarriage of justice, though one which is poetically just.
Country: US
Technical: bw 102m
Director: Fritz Lang
Cast: Edward G. Robinson, Joan Bennett, Dan Duryea
Synopsis:
An honoured employee sees his boss leave with a floozie and gets ideas above his station when he rescues a working girl from her pimp.
Review:
Lang's follow up to The Woman in the Window (with Walter Wanger at Universal) toys with the same archetypes as its predecessor, except that this time there is no nightmare to wake up from. Every character is engaged with misrepresenting the truth, and again a painting is the vehicle of that misrepresentation. We see how love induces an honourable man to overcome one qualm after another until he is prepared to commit murder: it is one of the director's most pessimistic films, and like many it hinges on a miscarriage of justice, though one which is poetically just.
Country: US
Technical: bw 102m
Director: Fritz Lang
Cast: Edward G. Robinson, Joan Bennett, Dan Duryea
Synopsis:
An honoured employee sees his boss leave with a floozie and gets ideas above his station when he rescues a working girl from her pimp.
Review:
Lang's follow up to The Woman in the Window (with Walter Wanger at Universal) toys with the same archetypes as its predecessor, except that this time there is no nightmare to wake up from. Every character is engaged with misrepresenting the truth, and again a painting is the vehicle of that misrepresentation. We see how love induces an honourable man to overcome one qualm after another until he is prepared to commit murder: it is one of the director's most pessimistic films, and like many it hinges on a miscarriage of justice, though one which is poetically just.