Bogart plays a man convicted of murdering his wife who escapes from prison in order to prove his innocence. Bogart finds that his features are too well known, and is forced to seek some illicit backroom plastic surgery. The entire pre-knife part of the film is shot from a Bogart’s-eye-view, with us seeing the fugitive for the first time as he starts to recuperate from the operation in the apartment of a sympathetic young artist (played by Bacall) for whom he soon finds affection. But what he’s really after is revenge.
Guy escapes prison (Humphrey Bogart) See? Girl (Lauren Bacall) gives refuge to guy. Got that? Yeah. . .
The exciting scénics of San Francisco become the backdrop for the ensuing manhunt. The escaped con is often recognized and suspected, heightening his wish to flee and hide detection, taking us with him through his Dark Passage into and out of film noir. He is able to do so but must brave a medical metamorphosis and battle the intervening finger of fate that slates him against the quirks of manipulators and those who would see him behind bars in a shake of this finger. Is he guilty? –no. San Francisco creates a symphony of noir elements with a twist. What. . .? A happy ending you say? Of course. It's Bogie and Bacall, likely the only couple to make it out of film noir alive, together in Peru and with a pretty colored tropical drink in hand, in B&W, of course.