Scarlet Street

Plot

Christopher Cross, a meek middle-aged cashier and amateur painter, saves a woman named Kitty March from being attacked on the street and becomes instantly infatuated with her. Unbeknownst to Cross, Kitty is actually a prostitute and the girlfriend of Johnny Prince, a charming but cruel con artist. When Kitty and Johnny discover that Cross is a talented painter, they scheme to exploit his artistic abilities by having Kitty pose as the artist while Cross secretly continues to create the paintings. The deception escalates as Cross's paintings gain critical acclaim and financial success, with Cross allowing the fraud to continue due to his obsessive love for Kitty. The situation spirals into tragedy when Cross's wife discovers his infidelity, Johnny becomes increasingly violent and greedy, and Cross's psychological breakdown leads to murder and his ultimate descent into madness and guilt.

Historical Background

Scarlet Street was produced and released at the end of World War II, a period when American cinema was transitioning from wartime propaganda to more complex psychological narratives. The film reflected post-war anxieties about masculinity, with Edward G. Robinson's character representing the emasculated American male returning to a changed society. The film's exploration of moral ambiguity and psychological darkness mirrored the growing disillusionment in post-war America. The Production Code was still in full effect, making the film's dark themes particularly transgressive. The movie also reflected the growing influence of film noir, a genre that flourished during the war years and continued to develop in the post-war period, often featuring cynical protagonists and fatalistic worldviews that resonated with audiences experiencing post-war uncertainty.

Making Of

The production of 'Scarlet Street' was marked by significant challenges, particularly with the Hollywood Production Code. The original story involved the protagonist getting away with murder, which censors found unacceptable. Lang and producer Walter Wanger had to modify the ending to show Cross's psychological torment and implied punishment. Edward G. Robinson was initially hesitant about playing such a weak character but was convinced by Lang's vision. The relationship between Lang and Bennett was particularly collaborative; she had significant input into her character's development and costume design. The film's distinctive visual style was achieved through the use of chiaroscuro lighting techniques that Lang had perfected in his German Expressionist period. The famous scene where Cross paints in his basement was shot on a specially constructed set that allowed for dramatic shadow play and emphasized the character's isolation.

Visual Style

The cinematography by Milton R. Krasner is a masterclass in film noir visual style, employing dramatic chiaroscuro lighting and deep shadows to create a mood of psychological oppression. Lang and Krasner used low-angle shots to emphasize power dynamics and high-angle shots to suggest vulnerability. The film's visual palette emphasizes darkness and shadow, with light often used to reveal characters' true nature. The famous basement scenes where Cross paints are particularly notable for their claustrophobic composition and use of single light sources to create dramatic shadows. The camera work often mirrors Cross's psychological state, with increasingly distorted angles and movements as his mental state deteriorates. The street scenes use wet pavement and neon lights to create the classic noir urban landscape, while interior scenes employ doorways and windows to create frames within frames, suggesting entrapment and observation.

Innovations

Scarlet Street pioneered several technical innovations that would become standard in film noir. The film's use of deep focus photography allowed for complex compositions where foreground and background elements carried equal narrative weight. Lang's innovative use of sound design, particularly the way off-screen sounds create psychological tension, influenced subsequent noir films. The film's editing style, with its rhythmic cross-cutting between different characters' perspectives, enhanced the narrative's psychological complexity. The production design, particularly the creation of Cross's basement studio, used forced perspective and clever set construction to maximize the sense of claustrophobia and isolation. The film's special effects, particularly the dream sequences and psychological montage scenes, used innovative double exposure techniques that were ahead of their time.

Music

The musical score was composed by Hans J. Salter, with additional music by Frank Skinner. The soundtrack effectively enhances the film's dark psychological atmosphere without overwhelming the narrative. Salter's score uses leitmotifs for different characters, with Kitty's theme characterized by seductive, flowing melodies while Cross's theme uses more discordant, anxious musical phrases. The music often employs minor keys and dissonant harmonies to reflect the film's moral ambiguity and psychological tension. The film makes effective use of diegetic music, particularly in scenes set in bars and restaurants, where popular songs of the era contrast with the dark events unfolding. The soundtrack received an Academy Award nomination, recognition of its significant contribution to the film's atmosphere and emotional impact.

Memorable Scenes

• The opening scene where Cross saves Kitty and becomes instantly infatuated, establishing the film's central obsession
• The basement painting sequence where Cross creates his masterpieces in isolation, visually representing his artistic soul
• The scene where Kitty first sees Cross's paintings and realizes their commercial potential, marking the turning point in the deception
• The brutal confrontation between Johnny and Kitty where the true nature of their relationship is revealed
• Cross's psychological breakdown in his apartment after discovering the full extent of the betrayal
• The murder scene, filmed with expressionistic shadows and minimal explicit violence
• The final scene where Cross, now homeless and broken, hears his own painting being praised on the radio
• The sequence where Cross imagines himself as a celebrated artist, contrasted with his pathetic reality

What Critics Said

Upon release, Scarlet Street received mixed but generally positive reviews from critics. The New York Times praised Edward G. Robinson's performance as 'a triumph of acting' and noted Lang's 'masterful direction.' However, some critics found the film's darkness excessive and morally troubling. Contemporary critics have reevaluated Scarlet Street as a masterpiece of film noir, with many considering it Fritz Lang's finest American work. Modern critics particularly praise the film's psychological depth, visual sophistication, and Robinson's nuanced performance. The film is now recognized as a classic of the noir genre, frequently cited in scholarly works about American cinema and film noir. The French New Wave directors, particularly François Truffaut and Jean-Luc Godard, praised the film for its formal innovation and emotional intensity.

What Audiences Thought

Despite initial censorship issues in some markets, Scarlet Street was a commercial success with audiences. Edward G. Robinson's star power attracted viewers, though some were surprised by his non-gangster role. The film's dark themes and psychological intensity resonated with post-war audiences who were experiencing their own moral uncertainties. The movie developed a strong cult following over the years, particularly among film noir enthusiasts. Modern audiences continue to discover the film through revivals and home video releases, with many praising its timeless exploration of obsession and betrayal. The film's reputation has grown significantly since its initial release, with contemporary viewers often expressing surprise at how daring and psychologically complex a 1945 Hollywood film could be.

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