Scarlet Street

"The things she does to men can end only one way - in murder!"

1945 1h 43m EN

🙌

7.6

BANGER

🔥

100%

CERTIFIED FRESH

⭐

7.7

IMDB

★7.6TMDB · 462🍅100%Rotten Tomatoes★7.7IMDB · 21,717

DramaCrime

Synopsis

Spoiler shield

Cashier and part-time starving artist Christopher Cross is absolutely smitten with the beautiful Kitty March. Kitty plays along, but she's really only interested in Johnny, a two-bit crook. When Kitty and Johnny find out that art dealers are interested in Chris's work, they con him into letting Kitty take credit for the paintings. Cross allows it because he is in love with Kitty, but his love will only let her get away with so much.

“The things she does to men can end only one way - in murder!”

WhatsApp X Facebook Telegram

Cast

Edward G. Robinson
Christopher Cross
Joan Bennett
Katherine 'Kitty' March
Dan Duryea
Johnny Prince
Margaret Lindsay
Millie Ray
Jess Barker
David Janeway
Rosalind Ivan
Adele Cross
Charles Kemper
Homer Higgins
Anita Sharp-Bolster
Laura Michaels

Credits

Behind the camera

Director: Fritz Lang
Writers: Dudley Nichols
Languages: English
Countries: United States of America

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

MONEY

Did you know

Shot for just $1.2M — micro-budget by Hollywood standards.

MoodPlayr · trivia#01

2 / 8

ERA

Did you know

81 years old — a genuine piece of film history.

MoodPlayr · trivia#02

3 / 8

DIRECTOR

Did you know

Directed by Fritz Lang, shot by Milton Krasner. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#03

4 / 8

DIRECTOR

Did you know

Original score by Hans J. Salter. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Editor Arthur Hilton shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#05

6 / 8

CAST

Did you know

Edward G. Robinson and Joan Bennett and Dan Duryea carry the top of the cast.

MoodPlayr · trivia#06

7 / 8

FACT

Did you know

Marketing tagline: "The things she does to men can end only one way - in murder!".

MoodPlayr · trivia#07

8 / 8

WILD

Did you know

IMDB entry: tt0038057 — still the authoritative cross-reference for credits and trivia.

MoodPlayr · trivia#08

Cinephile deep dive

The take

Fritz Lang directs. Milton Krasner behind the camera. Hans J. Salter scores. Arthur Hilton cuts. Profitable at the box office. Produced in United States of America. Dialogue in English.

Trivia

Things worth knowing

1Shot for just $1.2M — micro-budget by Hollywood standards.
281 years old — a genuine piece of film history.
3Directed by Fritz Lang, shot by Milton Krasner. Note their partnership — DPs and directors often return to each other across a career.
4Original score by Hans J. Salter. Worth a dedicated listen after — most great films lose half their impact without the score.
5Editor Arthur Hilton shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
6Edward G. Robinson and Joan Bennett and Dan Duryea carry the top of the cast.
7Marketing tagline: "The things she does to men can end only one way - in murder!".
8IMDB entry: tt0038057 — still the authoritative cross-reference for credits and trivia.
9Classified under 11 themes, including "new york city", "roommates", "pimp", "death sentence".
10Released under 13 different titles around the world.

The technical file

Cinematography: Milton Krasner
Original score: Hans J. Salter
Editing: Arthur Hilton
Makeup / hair: Jack Pierce
Runtime: 103 min · 1h 43m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Budget: $1,202,000
Box office: $2,948,500
Return: 245% of budget
Original language: EN
Certification (US): NR
IMDB: Scarlet Street (1945)
Rotten Tomatoes: 100% 🍅 Fresh
IMDB rating: 7.7/10 · 21,717 votes
MPAA: Approved

Awards

2 wins & 3 nominations total

Also by

Fritz Lang

Stills · wallpapers

Selected frames

Full-resolution frames — open one to save it as a wallpaper.

Wallpaper

Trailers & featurettes

Watch the pieces

Community reviews

What people are saying

Steve2017-04-12
★ 10/10
www.noiroftheweek.com This week's Noir of the Week is Scarlet Street. Its one of my favorite films. Most of you already know the story and hopefully have seen the new release of the film on DVD from Kino International. The film was directed by Fritz Lang and was based on the 1930's French film, La Chienne. Scarlet Street is about a common bank cashier in the 1930s who succumbs first to vice and then murder. I won't give the plot away, because I'd run out of room writing all the film's twists and turns. What I enjoy about this film is the common man (played by Edward G. Robinson) is as selfish as Kitty and Johnny (Joan Bennett and Dan Duryea). There isn't a good person in the whole story. Even his boss (cheating on his wife) and wife (old battle-axe) are evil to a degree. Most critics seem to think the film is a carbon copy of The Woman in the Window. I have to disagree. In that one, Robinson and Bennett are sophisticated and smart (OK, Duryea is the same). Robinson is spending the evening with the beautiful girl on a lark - just so he can brag to his friends. In Scarlet Street, Robinson plays a man who married his wife because he was dying of loneliness. In the middle of Scarlet Street, he says "I've never seen a naked woman!" to his wife giving us a pretty good hint that they never even consummated their relationship. Cross is a dreamer. His two dreams stated in the film was to become a painter and to have a "young girl" fall in love with him. He gets both. But his idea of love and art are selfish. In the book Dark City: The Film Noir by Spencer Selby, Selby writes how two of the characters view art; and how their view helps define them: "The idea of wishful dreams, around which Scarlet Street is built, becomes strongly linked with the idea of art. Cross' standing as Johnny and Kitty's key to riches is totally dependent upon his identity as an artist. To Johnny, great art is a "dream come true" solely because it is worth a lot of money. With Cross, the association of art, wishful dreams and glamorous love was first established in that early dialog with the friend. The link is extended and further clarified when he compares his love for Kitty to his love for art. Though more genuinely aesthetic than Johnny's, this association is really just as selfish and subjective. For both characters, art represents a dreamlike escape from the problems and frustrations that plague mundane existence. Johnny's dream takes a beating when he pierces the illusion of Cross' artistic fame by selling two of his paintings. However, in doing this he has set the stage for real success and a new illusion. As the work of Kathrine March, Cross' paintings become instantly popular and valuable. Johnny engineers this deception solely for his own profit, but thematically his action further reinforces the important link between art and illusion." Selby hits the nail on the head. Art for Johnny means money and for Chris romantic love. Both of these things will eventually destroy both of their lives. Watching the movie again I was taken by the three performances. Robinson plays the sap great. He's not as innocent as I first thought. True, he's run through the ringer. But in the end he kills a woman and lies to send a man to the electric chair. First, I thought that he was haunted by guilt after their deaths. He's not. He's haunted by the fact that he was made a fool of by Kitty and Johnny. Sitting in his room alone at the end he hears Kitty and Johnny's voices taunting him. They're telling him that now they can be together in death all thanks to him. Robinson's performance is more physical than verbal. When he knocks Johnny to the ground with an umbrella in a silent attack, he throws his arm in front of his face trying to block a blow that never comes. Much later, before he kills ice princess Kitty with a pick (appropriate), he walks into the room all hunched over looking much older than when he was walking on clouds in love. And how 'bout when he's forced to do the dishes wearing a flowery apron? Classic. Bennett in the film is the ultimate vamp. In the new print you can see her facial expression change to really tell what she's thinking. Hint: it's usually not what's coming out her mouth. Sure, Chris must be blind not to see he's being taken, but Kitty plays her role well. I love her apartment with dishes pilling up in the sink and her spitting grape seeds around the place. She's a lazy slob with some great legs. Bennett plays the part just right. She like Johnny even though he slaps her around. In fact, that's why she likes him. She states that if Chris wasn't so nice to her she would like him better. Kitty will do anything for Johnny and that's what gets her killed. Duryea is the big bad wolf. Boy is he good in this. Never has a performer been so good at entertaining as well as delivering on a part. The first time I saw this film, about ten years ago late at night on A&E, I remember flipping through a few books trying to find out who this guy was. He plays Johnny just right. His cloths even match his attitude. Everyone knows someone kind of like him. Johnny's always involved in schemes and trying to make it big without really trying. And blaming everyone else for his failures. Remember when Chris walks in and sees the two together in bed? What does Johnny do? He blames Kitty. In fact, every time something goes wrong, he blames her. Can you imagine anyone else pulling off the role? Of course, the film isn't just about the performances. Lang and his crew put together a stunning looking film. There are a number of scenes showcasing the films lighting and camera work (Milton Krasner is the Director of Photography). When Kitty is killed in the white bedroom by Chris; and Chris being haunted by voices in his seedy room come to mind. The script is filled with great dialog and quotable noir lines. Fritz Lang may be remembered for Metropolis, but for me his gift to film lovers is Scarlet Street.
John Chard2018-12-13
★ 9/10
If he were mean or vicious or if he'd bawl me out or something, I'd like him better. Christopher Cross, in middle aged, and in a life going nowhere and devoid of love and inspiration. Till one evening he rescues Kitty March from a mugger, it's the start of a relationship that has far reaching consequences for them, and those closest to them. The previous year director Fritz Lang had made The Woman In The Window, a film that was hugely popular with critics and fans alike. Here he reunites from that excellent film with Edward G. Robinson, Joan Bennett and Dan Duryea, the result being what can arguably be described as one of the best exponents of Film Noir's dark sensibilities. Adapting from works by André Mouézy-Éon and Georges de La Fouchardière (novel and play), this story of desperate love and greedy deceit had already had a big screen adaptation from Jean Renoir in 1931 as La chienne, which appropriately enough translates as The Bitch! Now there's a Noir title if ever there was one! What Lang does with this adaptation is drip his own expressionism all over it, whilst crucially he doesn't ease off from the harsher aspects of the story. This is nasty, cruel stuff, and with Lang at the time feeling a bit abused and used by the studio system he was slave to, who better to darkly cloak a sordid story with a biting edge? Is it purely coincidence that Lang took on this film about a struggling artist who's vision is stifled by another? Possibly not one is inclined to feel. Edward G. Robinson is fabulous as the pathetic Chris Cross. Married to a wife who constantly heckles and belittles him (Rosalind Ivan), Robinson's take on Cross garners empathy by the shed load, so much so that once Kitty (Bennett) and her beau, Johnny Prince (Duryea), start to scheme a scam on Chris, the audience are feeling as desperate as Cross was himself at the start of the movie. Few noir guys have so meekly fell under a femme fatale's spell as the way Cross does for Kitty here. But such is Lang's atmospherics, you not only sense that it's going to go bad, you expect it to, and naturally Robinson is just the man to punch us in the guts with added impetus. Bennett and Duryea are very convincing, almost spitefully enjoying taking the hapless Robinson character for everything they can, and the visuals, especially during the bleak, shadowy last couple of reels, cap the mood perfectly. This film is in truth probably saying more about its director than anything else that he made. And in fact it was said to be one of his all time favourites. That's nice to find out because it finds him on particularly good, and yes, devilish form. Grim, brilliant and essential film noir. 9/10
CinemaSerf2022-07-01
★ 7/10
It's interesting to see Edward G. Robinson cast as the downtrodden bank cashier, trapped in a loveless marriage, who has a penchant for painting. He comes to the rescue of a damsel in distress "Kitty March" (Joan Bennett) who is having a tough time with her loutish boyfriend "Johnny Prince" (Dan Duryea). He falls for her hook, line and sinker only to discover she has assumed that he is a wealthy man and she tries to manipulate and embezzle from him. Soon, he is caught in a cyclical trap and we know he is heading for disaster. What is most odd is the sight of Robinson in an apron preparing some liver. A clever crime thriller from Fritz Lang with good performances from the three principals.