I can definitely understand the positive reviews for this film and I would have probably scored this film a lot higher had I not also seen LA CHIENNE--a French film that from which SCARLET STREET was derived. However, while LA CHIENNE is a less polished film, it is much funnier and grittier and makes a much stronger impact because it doesn't take the easy way out and give a "Hollywood-ized" (i.e., "sanitized") ending. In fact, up until the end, I might have given SCARLET STREET an 8 or 9. But the end was just awful. Now in general, I don't like overly explicit films (after all, I am a parent and a teacher),but the production codes of the time really went way overboard--this film should have been left as it originally was. I really don't want to betray the endings, because it could ruin both films for you, but I will just say that LA CHIENNE has a kind of happy ending while SCARLET STREET is a heavy-handed morality play at the end--totally softening the harsh impact of the first 90% of the film.

As for the film, the performance that stood out the most was the supporting actor, Dan Duryea--he was what made this film a far better than average movie. Joan Bennet and Edward G. Robinson were fine, but Duryea just "chewed up the screen". Robinson's character was a nice treat, as he was very likable and sympathetic--much like Charles Laughton in THE SUSPECT. As for Fritz Lang, while he was certainly a great director, I think this was one of the least inspired jobs he did that I can think of. You would never know this is the same director who made METROPOLIS, M or THE WOMAN IN THE WINDOW. Oh, and by the way, THE WOMAN IN THE WINDOW came out the same year as this film and featured both the same basic cast AND a somewhat similar plot! In fact, after I saw both films, I mixed them up in my mind until I saw them both for a second time! Despite my objections to the movie, it is still well worth seeing. The basic plot is GREAT--but the ending,...YECCHH!! Do yourself a favor--after you see this film, try to find LA CHIENNE! You won't be sorry.

By the way, the SCARLET STREET DVD was by Front Row Entertainment and had a really poor quality print and offered no extras. I think this might be a public domain video and often the prints floating about are pretty bad of many of the public domain movies.

Scarlett Street finds Edward G. Robinson getting away from the gangster type and more to the mild mannered Mister Winkle which he played a couple of years before. Unfortunately things don't end as good for Christopher Cross as they do for Mr. Winkle.

A mild mannered little guy married to a harridan of a wife in Rosalind Ivans, Robinson's only outlet in his life is the painting he does. He's far better at it than he thinks and if he had some encouragement instead of misery from Ivans this whole story never would have happened.

In any event due to a combination of circumstances, his own personality and fates compelling the path he takes, Robinson winds up involved with bad girl Joan Bennett and her layabout boy friend, Dan Duryea. When Robinson moves his studio over to her place, Duryea grabs up some paintings and tries to sell them.

He makes a real impression on dealer Vladimir Sokoloff who sells them to noted critic Jess Barker and Duryea and Bennett say she did them. And Robinson the chump, goes along with it because he's so taken with Bennett.

Fritz Lang directed this film and it's one of his best American made films about fate just directing the broad march of events and trapping people into circumstances.

Leads Robinson, Bennett, and Duryea were all in Lang's last film The Woman in the Window and there is some similarity in plot. But I think Robinson's character is better compared to Claude Rains's Claudin in Phantom of the Opera and how he reacts when he thinks he's being made a fool of.

As for Joan Bennett, she's one of the coldest hearted women ever created on screen. All of the leads get a brand of justice one way or another in Scarlet Street.

The idea for 'Scarlet Street' sounded great, and my interest in the film increased. Knowing that Fritz Lang (who directed masterpieces such as 'Metropolis' and 'M', both of which are very influential in their respective genres and film overall) directed and that it starred an actor as great as Edward G. Robinson (who throughout his career excelled in both supporting character roles and leading ones). Those two reasons are reasons enough to see any film, either one or the other and even better both.

Also because it had Joan Bennett and Dan Duryea, very talented too, and they starred with Robinson in 'The Woman in the Window' (also directed by Lang),also worth seeing. Seeing 'Scarlet Street' recently, it was also a very, very good film and close to greatness. Greatness it would have been if one subplot had been excised. Both 'The Woman in the Window' and 'Scarlet Street' are more than well worth seeing, musts if fans of the film-noir genre (put myself in this category),with this getting the slight edge for namely having a much better ending.

My only real complaint is the returning husband from the dead subplot, that was not necessary and the execution of it was silly.

Lang however is at the top of his game here. His direction may not be the best he did throughout his career, but he nails the moody atmosphere and his unmistakable style so perfectly suited is all over the film, he directs tightly yet still allows some breathing space as well. The murder scene is uncompromisingly brutal. 'Scarlet Street' is further advantaged by great performances, Robinson does a fantastic job in the lead role, tough yet also easy to root for. Bennett may seem too classy in looks for such a hard-edged film, but she is very appealing while Duryea shows why he was better than most at that time at playing sinister characters.

'Scarlet Street' looks impressive too. the moodiness of the lighting and slickness of the editing are striking but it is the beautifully composed and atmospheric photography that stands out. The music is ominous enough. The script is intelligent and taut, taking no punches while having darkly ironic humour. This uncompromising approach also carries over in the complicated (without being overly-so, it's always coherent) and twisty plotting, complete with a climax that still evokes chills. The tension is aplenty and enough to make one bite the nails, while the characters intrigue.

On the whole, very, very good. 8/10