67%User score 67 percent
Cry of the City
1948 · Crime · Drama
User Score
451 votes
The things she does to men can end only one way - in murder!
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.
Recommendations based on this film
Steve
April 12, 2017
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 g…
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John Chard
December 13, 2018
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 fi…
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CinemaSerf
July 1, 2022
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…
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griggs79
November 14, 2024
Why on earth did they decide to colourize _Scarlet Street_? This is a film where every shadow, every drop of rain, and every grimy street corner needs to be black and white to intensify its moody, bleak atmosphere. The grayscale isn’t just aesthetic; it’s the very essence of the story’s dark descent and the bleakness surrounding its characters. Stripped of that stark, high-contrast style, it loses the bite and grit t…
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