'Dark Passage,' a 1947 release from the golden age of American film noir, stands out as a unique entry in the genre. It adheres to the traditional noir elements of a wronged man and a femme fatale, as well as the narrative of clearing one's name. However, this film—featuring the dynamic duo of Humphrey Bogart and Lauren Bacall—takes a different path by blending suspense, crime, and romance in a way that diverges from the typical American noir. The film's most notable feature is its use of the 'grand image-maker' mechanism, a narrative tool identified by Canadian theorist André Gaudreault. In 'Dark Passage,' this mechanism introduces a secondary narrative layer. The most groundbreaking narrative strategy is presenting the story from the fugitive's subjective viewpoint, keeping the star's face hidden for nearly an hour to rekindle the audience's engagement with familiar genre conventions.
![Dark Passage (1947) - IMDb](https://img.peliplat.com/api/resize/v1?imagePath=peliplat/article/20240625/c0433df4ee0553e350d22f5e9366ce81.jpeg&source=s3-peliplat)
This subjective perspective belongs to Vincent Parry (played by Humphrey Bogart), a man accused of murdering his wife. The film begins with a series of objective shots: hands emerging from an iron barrel on a truck, the barrel rolling onto the road, and a subjective shot from inside the barrel. As the barrel stops moving, the camera view shifts outward, showcasing director Delmer Daves' auteur tendencies within the Hollywood studio system. The subsequent nearly hour-long subjective narrative—from the protagonist's hands to the people he encounters—creates a secondary narrator under the grand image-maker's overarching style, directly substituting the grand image-maker itself.
In this sense, the film's first half adheres to what Francesco Casetti defines as "subjective form," where the narrative is driven primarily through the protagonist's perspective, engaging the audience's view with his. This alignment allows viewers to experience Parry's escape, unveiling the mystery through his eyes. However, as Casetti notes, this perspective is not fully shared with the audience; it serves as a "montage trope," providing a partial view from the grand image-maker and the protagonist. This partial view keeps the audience from fully understanding the protagonist's inner psychological state, a crucial element in maintaining suspense and surprise, fundamental to the film's narrative structure.
![Dark Passage (1947 — Reel SF](https://img.peliplat.com/api/resize/v1?imagePath=peliplat/article/20240625/5e77f3afda9c9acd542ec2872bf0695c.jpeg&source=s3-peliplat)
It's important to note that while the film utilizes a subjective viewpoint, it does not rely on it entirely, distinguishing it from "Lady in the Lake" (1946). In "Lady in the Lake," the subjective camera replaces the traditional shot-reverse-shot technique, making the protagonist's perspective the sole visual narrative, nearly erasing the camera's presence. In contrast, "Dark Passage" frequently intercuts objective shots with Vincent Parry's subjective view, such as the taxi scene where Parry converses with the driver, obscured in the background. This perspective blend highlights Warner Bros.'s mainstream commercial approach and Daves' experimental intentions.
The film's subjective narration should be noted not for its break from typical noir or classic Hollywood storytelling—unlike "Double Indemnity" (1944), which uses the protagonist's voiceover rather than subjective visuals—but for its attempt to immerse viewers entirely in the narrative. After Parry's surgery, the subjective perspective shifts to a more traditional omniscient view, revealing the previously hidden face of Bogart, already well-known to audiences. This deliberate concealment and eventual reveal serve as both a narrative device and a commentary on star recognition, reducing the suspense associated with Parry's new appearance but increasing curiosity about his original face.
![Dark Passage (1947)](https://img.peliplat.com/api/resize/v1?imagePath=peliplat/article/20240625/01811a5bc119e391f2a302a9a3bae4f7.jpeg&source=s3-peliplat)
The "Vincent Parry viewpoint" of the first half aligns with genre conventions by drawing the audience into the suspect's perspective, offering a fresh take on noir's typical male lead. This subjective yet incomplete viewpoint acts as a directorial and audience strategy, transitioning seamlessly to a more traditional narrative post-surgery. The viewer's alignment with the protagonist shifts dramatically as Bogart's familiar face emerges, leveraging his star power to reframe the story and deconstruct genre expectations.
'Dark Passage' features multiple genre elements, using perspective shifts to create a sense of disorientation. For example, before surgery, Parry's encounters are shown through peepholes and blinds, a visual technique that emphasizes his limited perspective. Post-surgery interactions, on the other hand, use wider shots, a visual shift that mirrors the narrative's change in tone and perspective. This nuanced use of subjective and objective shots enhances the film's suspense and thematic depth, providing a visual feast for the audience.
![Dark Passage](https://img.peliplat.com/api/resize/v1?imagePath=peliplat/article/20240625/669db7aed3d111ecc9766b2cb4f9ce5a.jpeg&source=s3-peliplat)
Ultimately, "Dark Passage" underscores the presence of the grand image-maker by subtly breaking conventional narrative norms, forcing viewers to re-evaluate their perception of the film's storytelling mechanisms. While it innovates within the genre, it remains a classic noir film, successfully balancing traditional elements with inventive narrative techniques. This makes it a noteworthy yet imperfect evolution in the noir canon.
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