The special guest at the Aero said he had a "perverse fascination" with this film. That's apt, because perverse fascination is in the air in SF—both in this movie and in life. The first third is formally jolting stuff, setting up a nightmare narrative that only disappoints when it tries to make sense. Satisfying, then, that its noir coup is to fracture notions of identity and truth and pick escape over resolution.
The first half, told almost entirely via first-person, POV shots, is immersive, gripping stuff. The whole facial-reconstruction plot pays off in some novel, creepy ways, too -- I do love it when noir fucks with personal identity. Unfortunately detours into an uninteresting, exposition-dumping lover's row at a couple points, but Bogie and Bacall are consistently magnetic; the best I've ever seen the latter.
[Noé's main inspiration for Enter the Void] Best POV shots in film history. The dream sequence is out of this world. How awesome the chance one has to see Bogart's and Bacall's close-ups on a silver screen. Truly amazing!
A good chance to watch Bogart and Bacall getting emotional. I found this noir quite entertaining but some events and decisions made by the characters were a tad far fetched, and the ending was too pleasing for my taste.
I was really disappointed by DARK PASSAGE after having watched several dozens of films noirs during the last weeks. Pointless close-ups of Lauren Bacall (she's beautiful but this isn't an excuse), repetitive coincidences that are ridiculous in a serious film noir, a laughable ending unworthy of the director of THE LAST WAGON and a subjective camera that made me sick. A DVD zone completists only.