What a wonderfully bizarre noir that has more art critics than gangsters. Edward G. Robinson is a very queer sort of fellow in this one, and his post-Code punishment is perhaps the most fantastical I have seen. Softly whisper "Jeepers I love you Johnny" to me all night herr Lang.
Good dialog and acting,ultimately entertaining but only that.I think thats common in that era, especially with film noir. There are plot holes as much as in Swiss cheese,eg 1)why C,otherwise naive and honest would lie about what he did, 2) the trial is a farce(is there any evidence K was a painter,why didn't J testify in defense that they were caught by C)3)could anyone become a great artist by painting in a toilet?
Even though the pessimistic universe of the German phase urban crime thrillers is toned down, the metaphysics of evil is just as palpable despite the well-known barriers. The second part generates most of the visual rewards and the superimpositions as well as the darkened urban milieu convey superbly Chris' descent into psychic and social isolation. The deceptions in mise-en-scène bear the great master's signature.
O fato desse filme ter sido banido em três cidades nos EUA já é suficiente para comprovar o quão chocante, sombrio e amoral é este filme para os padrões da época. Até em seus momentos cômicos, é um filme perverso, que gradualmente vai entrando numa tormenta até o desfecho, onde a escuridão engole tudo. Boas atuações, direção, edição de som e história. Um film noir bem tenso, onde diferentes paixões são mortais.
Since I knew this movie is a remake of Jean Renoir's La Chienne, I expected to hate it. But I have to admit it works better as a film noir. If only they had kept the original ending, it would've been a true masterpiece. But I guess with the melodramatic nature of 1940s noir and the Hays code tyranny, keeping the cynical, morally ambiguous ending was just unthinkable.