Even if she has only two or three scenes she steals them all.And it speaks volumes when the stars are Bogart and Bacall.

This is my favorite B/B among the four films they made together."The big sleep" has a plot I've never understood -Hawks used to say it was the same to him-,"to have and to have not" fails to excite me (Bogart a resistant and Gaulliste at that!"Key Largo",on the other hand, is a close second to Daves' movie .

Not that the subjective viewpoint/camera was that much new.Robert Montgomery filmed his hero the same way in 1946 ("Lady in the lake" ,and we only saw his reflection in the mirrors).Hitchcock knew the technique as well and he used it with virtuosity during short sequences.But Daves who is best remembered for his westerns ("broken arrow") pulls it off effortlessly.The depth of field gives a dreamlike atmosphere to the first sequences with Bacall and the surgeon -dream which becomes nightmare during the operation when Bogart sees in his bad dream all the characters involved in the story- There are plot holes of course,particularly Madge 's character .Parry is in Irene's house and presto here she comes.It takes all Agnes Moorehead's talent to give this woman substance.

The first third is Bogartless,as an user points out.But he could add that the last third is almost Bacallless too.

Only the ending,which I will not reveal of course ,is not worthy of a film noir!Maybe the producers imposed it.

The least known of the four Bogey and Bacall movies and deservedly so has to be Dark Passage. The other three have become classics to some' degree and this one hasn't.

There are just too many coincidences and too many plot holes for the good ship Dark Passage to float. Lauren Bacall just happens to be out painting when Bogart crashes out of San Quentin, she just happens to know some of the principals in the case that sent Bogart up in the first place, Bogart happens to get into a cab where a friendly helpful cab driver happens to know a good plastic surgeon. It's all too too unreal.

Yet Dark Passage does have its good moments. Bacall and Bogey are smoking up the screen as they did in To Have and Have Not, The Big Sleep, and later in Key Largo. Agnes Moorehead steals the film from both of them with an over the top performance which is a text book example of overacting. My guess is Agnes was simply trying to overcome a bad script.

Delmer Daves who is a fine director for outdoor films, westerns like Jubal and 3:10 to Yuma is also not the right director for Dark Passage. If Alfred Hitchcock had directed it with a better script, Dark Passage may very well have been the best instead of the worst of the Bogart Bacall teamings.

One character I really liked though was Clifton Young who first picks up Bogart on the road after the escape. Bogart slugs him when he catches wise, but later Young returns for some blackmail. He's a two bit punk, very much along the lines of Elisha Cook, Jr. in The Maltese Falcon and you really are happy when he meets his fate.

Dark Passage also helped the great Richard Whiting-Johnny Mercer standard, Too Marvelous for Words get a revival. Didn't cost the brothers Warner a dime as they owned the rights to the song, it having been introduced in the Ruby Keeler musical, Ready, Willing, and Able. Just like As Time Goes By got a revival from Casablanca.

But we remember Casablanca a whole lot more than Dark Passage.

Humphrey Bogart and Lauren Bacall were two great actors, still (especially Bogart) deservedly lauded. Their chemistry/teaming is in my mind, and perhaps many others' minds, one of the most legendary on screen, on and off. Of their pairings, it is especially apparent in 'The Big Sleep' and 'Key Largo'. Agnes Moorhead was always a scene stealer, even when the overall film itself wasn't exactly amazing.

Their third outing together, after 'To Have and Have Not' and 'The Big Sleep', 'Dark Passage' is certainly more than watchable and is a long way from a dud. Of the mentioned four however, to me it is the weakest with some big flaws that stopped me from rating it highly. Can definitely see why 'Dark Passage' appeals to people and also why it won't work for others, so am on both sides in this case. Am not one of those people, well maybe when first joining there was some ignorance when my film taste was limited and found it very difficult to control my emotions (apologies to anybody who ever took offense),who has always tried to see the good in everything and to be understanding of people's opinions on both sides.

Will start with the good things. The production values steal the show from under Bogart, Bacall and their chemistry, never thought that would ever be said. The San Francisco location is haunting, picturesque and absolutely beautiful, like its own character, sorry if people feel that that has been said too much by me in my reviews but have developed a thing for it and find it really effective in film. Especially gorgeous is the photography, with the first 40 minutes being especially ingeniously shot when the point of view gimmick was interesting. Gimmicks have been variably done on film, and can be too gimmicky and overdone (felt that way about a recent viewing of 'Lady in the Lake'),that for 'Dark Passage' just about works. Franz Waxman provides another sumptuous and avoiding intrusiveness music score.

Delmer Daves directs competently, especially early on. The script has moments where it is thought-provoking and the story does compel at first and is slick. Bogart is a little reserved at times, but his usual intensity and the things that made him as great an actor he was here too. Found Bacall to be better, a typically sultry and also sympathetic performance. Their chemistry is believable though not as intense or sizzling, having a more softened edge. The supporting cast also outshine the two stars, Tom D'Andrea is excellent and Moorhead overplays deliciously.

Sadly, 'Dark Passage' lost its way once Bogart does appear. Found the story implausible and sometimes to ridiculousness with unclear character motivations and parts and explanations that don't ring true, due to too many contrivances and coincidences. As well as too low key and lacking in suspense, which did make the pace plod.

Tautness is lacking and the script can be limp and silly. The characters are not very interesting, despite the good performances, Bogart's actions can be pure stupidity in particular that really makes one doubt his innocence and Bacall's veers on the naiive. The ending feels too neat.

In summation, worth watching but a disappointment. 6/10