Scarlet Street

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.

Cast

Edward G. Robinson

Edward G. Robinson

as Christopher Cross

Joan Bennett

Joan Bennett

as Katherine 'Kitty' March

Dan Duryea

Dan Duryea

as Johnny Prince

Margaret Lindsay

Margaret Lindsay

as Millie Ray

Jess Barker

Jess Barker

as David Janeway

Rosalind Ivan

Rosalind Ivan

as Adele Cross

Charles Kemper

Charles Kemper

as Patch-eye Higgins

Anita Sharp-Bolster

Anita Sharp-Bolster

as Mrs. Michaels

Samuel S. Hinds

Samuel S. Hinds

as Charles Pringle

Vladimir Sokoloff

Vladimir Sokoloff

as Pop LeJon

Reviews

Steve

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 fil...

John Chard

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 c...

CinemaSerf

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 Dur...

griggs79

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...

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