Held hostage in a lakeside cabin by a pathological thug, Al Walker (William Holden), and his criminal cohorts, Dr. Collins (Lee J. Cobb) overwhelms the notorious killer using a single weapon, a book entitled “The Criminal Mind and Insanity.” A criminal psychologist, Dr. Collins launches this remake of 1939’s Blind Alley with a sober voice-over about saving society’s less fortunate; then, with implacable cool, the pipe-puffing shrink calmly unravels the nightmare that has plagued wacko Walker, a nightmare visualized in artfully reversed imagery, surely the inspiration of director Maté, the master lensman behind The Passion of Joan of Arc and others. In this taut siege, the claustrophobic cabin becomes the hemmed-in equivalent of a compressed Freudian psychology that includes a helpful lecture on how the conscious and unconscious minds are separated by a “censor band.” When The Dark Past dissolves that band, the emitted light is blinding. —Steve Seid
Rudolph Maté (1898-1964) became an assistant cameraman for Alexander Korda in Hungarian films of the late teens. In the mid ‘20s he lensed some of Carl Dreyer’s Mika’l, and became cinematographer for Dreyer’s classics La Passion De Jeanne D’Arc and Vampyr. After working in France on Fritz Lang’s Liliom and Rene Clair’s Le Dernier Milliardaire, Mate came to Hollywood in 1935. Here he shot such notable films as Our Relations with Laurel and Hardy, William Wyler’s Dodsworth, Alfred Hitchcock’s Foreign Correspondent, Korda’s That Hamilton Woman, and Lubitsch’s To Be Or Not to Be. Mate began directing in 1947 with the comedy It Had to Be You, which he co-directed with Don Hartman. As a director Mate is most fondly remembered for his early films, the noirs The Dark Past and D.O.A., and producer George Pal’s apocalyptic science-fictioner When Worlds Collide. —allmovie guide