(On Cable TV, June 2018) Humphrey Bogart was the man’s man in the 1940s (and even well thereafter), his marriage to Lauren Bacall was the stuff of tabloid legends, and film noir was the decade’s flavour. So it is that Dark Passage goes down smoothly as we’re presented a sordid little melodrama of murder, double-cross, escaped criminal and cosmetic surgery. Unusually enough, much of the film’s first half does not show the protagonist’s face—the film either features first-person camera shots, or obscures the protagonist’s face until he undergoes cosmetic surgery and takes off the bandages—at which point he’s revealed to have none other than Humphrey Bogart’s face. The rest of Dark Passage speeds by, as our unjustly convicted protagonist tracks down his ex-wife’s killer and finds love with Lauren Bacall. San Francisco plays a good role in the story—there might have been something in the Hollywood water system at the time, given how Orson Welles’s noir The Lady from Shanghai also used the city’s backdrops liberally the same year. The plot is far-fetched, but the atmosphere and the stars help make Dark Passage a classic film noir.