Interesteg What makes it different from others?

Stevecorp Don't listen to the negative reviews

ChicRawIdol A brilliant film that helped define a genre

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Benedito Dias Rodrigues There is a saying "The best fragrances came in small bottles" it fit in this picture,"Noir" is one's my favorite kind of movie, just to say only tree reach at high grade 10/10...Naked City,Double indemnity and now The Scar... even a B-movie it's very original an clever plot,the point is a perfect crime and as we all know probably end up seen found any time...but somehow it's didn't happen.. sometimes some situation is going in the wrong direction and the truth will be exposed,but nothing....the suspense is growing along the way...and when he is about to escape....well l'd better watch the movie for yourself!!!Directed by a unknown this movie has been discovered by thousand movie fans who really enjoy the seventh art...this one is perfect example of that many thing to came to surprise us!!Resume:First watch: 2017 / How many: 1 / Source: DVD / Rating: 10

LeonLouisRicci A Film-Noir that is a Show-Off of the Genre. It is quintessential and profoundly Noir. John Alton's acclaimed Cinematography is dripping in rain and washed with moody shadows and extreme lighting effects.It is a doomed affair where our amoral Lead Character is ruthless, selfish, and yet has a touch of Humanity witnessed in a couple of poignant Scenes. But His Fate is as scarred as His Face as things unfold with cynical Dialog and less than attractive exposition of events.This is an underrated and unrecognized display of the Film-Noir Genre in its look, Script, and Characters. Within this World things spiral and spin, and have a Life of their own driven by unseen forces and right in front of you situations. It is a complex and little understood environment as it tries by definition with smart, yet unaware Participants placed in this always interesting sideshow of Film-Noir.As an introduction to Newbies this is U.S.D.A. Prime and after viewing, you are either hooked or not on this most cutting edge, cynical, and Artistically active Sub-Genre that saved Hollywood from complete blandness and propagandized product. Film-Noir served as a Proletarian voice to the mucky-mucks and was a brazen attempt at an Anti-Vision.

writers_reign This is all about light and shade, off-the-wall angles and an improbable plot. Luckily the lighting, angles, and camera-work in general keep the interest from flagging. Paul Henreid was never much of an actor albeit he lucked in to some pretty good movies - Goodbye, Mr. Chips, Casablanca, Now, Voyager - and he was shrewd enough to realise his shortcomings as an actor and get into directing. Strangely enough he only produced two movies and this was one of them in which he top-billed himself as an amoral criminal who is also sufficiently arrogant to attempt a casino heist that none of his associates want any part of. It goes wrong, natch, and leaves him on the lam. Improbably a stranger mistakes him for an analyst and he determines to see how much truth is in this. Turns out they could be twins except for the scar on the analyst's cheek. Nothing that can't be fixed. If you can buy this it's not a bad minor noir with an uncredited Jack Webb for good measure.

dougdoepke If you can buy the premise—a hunted guy finds his exact double and takes over the double's life—the rest follows pretty effectively. Writer Dan Fuchs is much underrated and a prime contributor to Hollywood's noir period. The screenplay is more cynical than usual for the genre. Catch how many times comely secretary Evelyn (Bennett) complains about never expecting anything from life; or the guy talking about people being so self-absorbed they don't even know the color of their wife's eyes; and, of course, there's that desolate ending.Then too, the self-absorption is underscored by the fact that no one even notices that Muller/Dr. Bartok's scar has changed location on his face. Not even those closest to him. The exception is the humble old charwoman, which is why the arrogant Bartok embraces her in a sudden moment of appreciation. I also like the little garage guy's big dream of becoming a sleek ballroom dancer. He has no chance, of course, but it helps him cope. Except for the contrived premise, it's quite a provocative and, at times, touching screenplay.Frankly, Henreid's a little too impassive in the title role to grab attention. However, the script's pretty strong, so I don't think it really hurts the movie, but it doesn't help, either. Alton's expert noir photography helps lift the visuals to a compelling level. At the same time, I doubt that fate has had a stronger role than in this film, along with an ending among the most devastating in all noir. All in all, the production remains a solid noir entry.