Diagonaldi Very well executed

SpuffyWeb Sadly Over-hyped

Stephan Hammond It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

clanciai Burgess Meredith makes probably his greatest performance and is completely convincing as the man in the awkward position of having lost all memory of the latest year of his life and finds himself hounded by hoodlums and eventually wanted for murder. Claire Trevor is less convincing as the lady involved, who wants to get away with him and help him abscond whatever it is, while the character stirring the tale and bringing it up to excitement is lame old grandma (Adeline De Walt Reynolds), who can only communicate with her eyes but does so the more. As the thriller develops, it grows more exciting and gripping all the way, and as usual the truth is a shocker - everyone is innocent except the least suspected. Burgess Meredith's experience of this nightmare situation of a lifetime, like being locked up blind in a cage of wolves or worse, that is killers or the electric chair, couldn't be made more realistic by his acting, as this outrageous strain forces him to extreme rationalism, which is exactly the normal human reaction in such circumstances - you set in a higher gear, and thus he manages to make his way out of the death trap of innocent ignorance caught in hopeless darkness of hopelessness. It's a small great film with plenty of stuff for afterthought.

mark.waltz This early film noir starts off intriguing, bogs down into the slow processing of information, and turns the tables in a surprising way. Back when he was a leading man and not a grumpy old one, Burgess Meredith was quite unique. Here, he is both a quiet accountant and a mystery man being sought for murder. It appears that he had amnesia once before, snapping into his alleged real identity when a construction site briefly knocks him unconscious. A forgotten wife and career interrupts his determination to find out if he's guilty of this murder or not. The sudden return to his old neighborhood reunites him with old girlfriend Claire Trevor and brings him to the scene of the murder where the only one willing to help is a bedridden mute old woman (Adeline De Witt Reynolds) who blinks in certain ways to answer his questions.Intriguing but perplexing, this is unrelated to the 1930 Paramount drama with William Powell and Kay Francis. Meredith is of course excellent, and Trevor also very good, playing several sides to her mysterious femme fatale. Sheldon Leonard is the obsessive detective on Meredith's case, with Jerome Cowan and Frieda Inescort as De Witt's greedy son and daughter-in- law. This is the type of film to try to remain patient with because the denouncement is pretty surprising. While Manhattan seems to be the setting, obviously fictional cross streets off of the main drag adds to the conclusion. Technically superior as well, this starts off high, sags briefly, but concludes way up in outer space with twists that add a true wallop and leave you with a sense of pity for the guilty party.

Spikeopath Street of Chance is directed by Jack Hively and adapted to screenplay by Garrett Fort from the novel "The Black Curtain" written by Cornell Woolrich. It stars Burgess Meredith, Claire Trevor, Louise Platt, Sheldon Leonard, Frieda Inescort and Jerome Cowan. Music is by David Buttolph and cinematography by Theodor Sparkuhl.After being felled by falling wreckage from a New York building, Frank Thompson awakes in the street to find he has some sort of amnesia and his life may not be as he thought. As he starts to piece together his life he comes to realise he may have committed a murder and is actually on the run!An early entry in the original film noir cycle, Street of Chance takes what would become a familiar film noir theme, amnesia, and seasons it with betrayal and the vagaries of fate. It's also a point of interest to note that it's the first filmic adaptation of one of noir hero Woolrich's literary works, while the visual marker set here by Sparkuhl (Among the Living) signposts the influence of German Expressionism on the noir film making style. The visuals range from low lighted cramped rooms to the various diagonal and vertical shadows that psychologically patternize the spaces inhabited by the lead characters.The story itself is not so hot, once the narrative settles into a steady and unspectacular rhythm, as the key ladies in Frank Thompson's life come into play, there's a distinct lack of mystery or suspense. Which is a shame as the acting is of good quality even if the principals aren't asked to stretch their respective thespian skills. Still, with the visuals so strong and the satisfying Woolrich feel to proceedings (though the finale is changed here from that of the novel), it's worth seeking out by noiristas. 6.5/10

goblinhairedguy Paramount's "Street of Chance" is an early, and certainly not full-fledged, entry in the film noir canon. It qualifies mainly for being based on a work by that master of paranoia and cruel fate, Cornell Woolrich -- using the familiar amnesia premise to trigger the protagonist's alienation -- and by its oppressively moody low-key lighting. The first few reels offer a true noir milieu of urban angst and displacement -- the hero, injured by falling construction material, discovers a year-long lapse in his life -- and worse, he's suspected of murder and has a completely unremembered lover in addition to his puzzled wife. As the film progresses and he narrows in on the truth, it resolves itself into something closer to Gothic melodrama, with a more traditional view of human transgression and frailty. The blending of the two genres is reminiscent of the studio's "Among the Living" from the previous year rather than the out-and-out noirs "This Gun For Hire" and "The Glass Key" of its own release year.Paramount's B-picture unit offered a higher degree of professionalism than most, reflected by the fine level of performance and technical achievement here. Burgess Meredith's lead character is far too benign to be a true Woolrichian anti-hero, but Claire Trevor shows underlying tinges of femme-fatalité which would serve her well later in her career. Lower-rank director Jack Hively contributes a few visual cachets, particularly the unexpected discovery of a pivotal character lurking in the background, and an over-the-transom tracking shot to end the picture that is almost Antonioniesque. Unfortunately, he doesn't milk the character conflict for much intensity, and the denouement is disappointingly soft.