This passable film noir is probably most notable for a storytelling gimmick that keeps the face of star Humphrey Bogart obscured for a good chunk of the film's running time, including the use of a subjective camera technique to depict the action strictly through his point of view. As a formal experiment, it's interesting enough. It stumbles as drama. The storyline is flat and uninteresting, and Bogart's onscreen dynamic with Lauren Bacall lacks the spark of their other collaborations.

Unbelievable that the studio agreed to make the film knowing that we wouldn't see the main character's face for over an hour into the picture. The POV was incredibly well done, especially when it's on Bacall *drools*. The ending wasn't as great as the rest of the film and Bogie's confrontation with the killer at the end felt like a cop out, but still a great movie - it just has its flaws.

Not up to the two earlier Bogart Bacall films, but pretty good nevertheless, with a fine noir atmosphere and a surprisingly upbeat ending that works.

Agnes Moorehead is one of several very good supporting actors in a movie filled with interesting characters. The Bogart/Bacall chemistry is wonderful, of course, and when the characters finally kiss, it's like a huge relief. Bacall does some nice acting here; you can see her lips tremble slightly as the kiss winds down to its conclusion, and she is overcome with the sadness of Bogart's departure. It's quite terrific. Score inflated slightly for the Bogart-Bacall factor.

I really liked the POV camera style to start this, I can see how it could be annoying to some, but it and most of the cinematography (San Fransisco was captured really well) was high class. Lots of nice twists in the plot, and it kept me guessing right until the end (which was fairly abrupt, admittedly). I thought that it captured the non-trusting, chaotic mood of post WW2 America really well too.

IT WAS HUMPHREY BOGART??? Anyway, the first person POV was great symbolically though I don't want to use my whole review to talk about that. Aside from that, great acting... not as amazing as some other Bogie and Bacall movies obviously but still thrilling. Ending was kind of rushed like others were saying. Still very entertaining.

A well done film with an interesting film technique of only seeing through Humphrey Bogart's character's eyes for the first 40 minutes.Lauren Bacall came off as a little stiff and at times unfocused.The story is where this picture really comes up short.It never really had any tension to it and the story is wrapped up a little to hastily.

Kind of strange to have the star obscured for two-thirds of the movie, especially in the studio era and especially when that star is Humphrey Bogart. It's not a great movie but engaging and enjoyable.

86.500

While a few aspects are contrived it does have some nice twists on convention. It's a very fun noir and Bogart carries it well.

The POV camerawork, the plastic surgery, the dream sequences, the supporting characters, even all the implausible coincidences; they all help to create a strange and interesting atmosphere in the first half. Then, once Bogart gets the bandages off, it turns into an underwhelming murder mystery with a very unsatisfying conclusion (seriously, did anyone understand the killer's motives?). A good film, but only in patches.

The first half hour blew me away, I was watching it with big fascination. Truly great! However it runs just a tiny bit flat after a while, but it kept me interested throughout the film. The ending was kinda cute too

Bogart and Bacall post-consummation, and without chemistry.

Of course the first part seems gimmicky (even--or is that especially?--after you find out why the gimmick's there). It opens up toward the end though.

Great chemistry between Bogart and Bacall, unfortunately there's not enough of it! Bogart's not in it for the first half (well, he is, but you don't see him) and Bacall disappears for most of the second half. An uneven but generally satisfying film noir. The POV stuff gets old quick.

Quite entertaining, with a good dose of unintentional hilarity. Agnes Moorehead's demise is simply classic. And how on earth does one murder someone by beating them to death with a TRUMPET???

The POV scenes wear out their welcome rather quick and what's up with that abrupt ending? Bacall is stunning as usual and the bit parts are all played very well, particularly the cabbie and the small-time hood.

M: 83/100 Mike Neat and kind of gimmicky first-person film for much of the first half, which turns into the standard wrong-man chase later. Kind of dull climax and ending, but the film is fun to watch.

The lesser known Bogart/Bacall film. Interesting, but rushed ending.

The first half was intense and thrilling; it boasted brave and innovative camerawork and premise, along with inspired casting and an enthralling script. The second half, however, just seemed to play out on the wealth of the first, and turned into something of a silly/mundane murder mystery. It lost its suspense. I may have added a few points for being introduced to Lauren Bacall *melts*.

Classic Bogart/Bacall film noir. The experimental first-person perspective used for the first half of the film is one of the most interesting aspects.