Bogart plays a man convicted of murdering his wife who escapes from prison in order to prove his innocence. Bogart finds that his features are too well known, and is forced to seek some illicit backroom plastic surgery. The entire pre-knife part of the film is shot from a Bogart’s-eye-view, with us seeing the fugitive for the first time as he starts to recuperate from the operation in the apartment of a sympathetic young artist (played by Bacall) for whom he soon finds affection. But what he’s really after is revenge. —IMDb
Born in San Francisco, Delmer Daves first pursued a career as a lawyer. While attending Stanford University he became interested in the burgeoning film industry, first working as a prop boy on the Western The Covered Wagon (1923) and serving as a technical advisor on a number of films. After finishing his education in law, he continued his career in Hollywood.
After moving to Hollywood in 1928, he began his career as a screenwriter, his first credit being the “talkie” comedy So This Is College released by MGM. Through the 1930s he made a name as a successful screenplay and story writer, while moonlighting as an actor in bit parts and uncredited roles. He penned the successful Dick Powell musicals Dames, Flirtation Walk, and Paging Miss Glory between 1934 and 1935. Daves’ largest successes of the period, however, came with 1936’s The Petrified Forest and Love Affair (1939). Almost twenty years later Leo McCarey, director of Love Affair, would helm the nearly identical An Affair… read more
the pov shots are superb and the dream sequence too. and how great is to see bogart and bacall close-ups on a silver screen? amazing!
No llega a las alturas de El Sueño Eterno, pero me gustó más que Cayo Largo. El uso de la cámara subjetiva me pareció audaz y sorprendente (durante los primeros 37 minutos nunca vemos el rostro del protagonista de la historia). Agnes Moorehead hace una actuación notable en plan de mujer mezquina y resentida.