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Scarlet Street (1945)

Approved | | Drama, Film-Noir, Thriller | 28 December 1945 (USA)
When a man in mid-life crisis befriends a young woman, her venal fiancé persuades her to con him out of the fortune they mistakenly assume he possesses.

Director:

Fritz Lang

Writers:

Georges de La Fouchardière (novel) (as Georges De La Fouchardiere), André Mouézy-Éon (novel) (as Mouezy-Eon) | 1 more credit »
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Cast

Complete credited cast:
Edward G. Robinson ... Christopher Cross
Joan Bennett ... Katharine 'Kitty' March
Dan Duryea ... Johnny Prince
Margaret Lindsay ... Millie Ray
Rosalind Ivan ... Adele Cross
Jess Barker ... Damon Janeway
Charles Kemper ... Homer Higgins
Anita Sharp-Bolster ... Mrs. Michaels (as Anita Bolster)
Samuel S. Hinds ... Charles Pringle
Vladimir Sokoloff ... Pop LeJon
Arthur Loft ... Dellarowe
Russell Hicks ... J.J. Hogarth
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Storyline

Chris Cross, 25 years a cashier, has a gold watch and little else. That rainy night, he rescues delectable Kitty from her abusive boyfriend Johnny. Smitten, amateur painter Chris lets Kitty think he's a wealthy artist. At Johnny's urging, she lets Chris establish her in an apartment (with his shrewish wife's money). There, Chris paints masterpieces; but Johnny sells them under Kitty's name, with disastrous and ironic results. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

Taglines:

The GREAT STARS and DIRECTOR of "Woman in the Window" See more »


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

28 December 1945 (USA) See more »

Also Known As:

Almas Perversas See more »

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Box Office

Budget:

$1,202,007 (estimated)

Gross USA:

$2,948,386
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »

Goofs

Early in the movie, Edward G. Robinson's character walks another man to a bus stop in the rain. As they stop, he spins his umbrella. You can see a portion on the left has broken. In the next shot the umbrella is intact. See more »

Quotes

[first lines]
Bank Employees: [singing] For he's a jolly good fellow. For he's a jolly good fellow. For he's a jolly good fellow... which nobody can deny. Which nobody can deny. Which nobody can deny. Which nobody can deny.
[repeat chorus]
See more »

Alternate Versions

Also available in a computer colorized version. See more »

Connections

Referenced in L.A. Noire (2011) See more »

Soundtracks

Melancholy Baby
(uncredited)
by Ernie Burnett and George A. Norton
See more »

Frequently Asked Questions

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User Reviews

A Brilliant Remake
3 April 2002 | by Zen BonesSee all my reviews

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!


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