Many appropriately appreciative reviews appear for this surprisingly successful film noir. Most of them can be agreed with. The film, however, is not without a few disappointing flaws. Some scenes run out of steam, a couple are painfully obvious in their attempts to manipulate perception, and a couple just don't work. But the other 85% of the film turns as well as the spirals of a heavy-duty spring in doing what it's supposed to do to contribute to the film. One of many scenes that worked very well is when Connie tries to make up her mind about whether or not to be mercenary. A woman on a dark street has two ways to go, and she's pulled effectively in both. Not clear until the last is which direction she will take. ... Much is said about the dialogue. The NYTimes reviewer at the time was soured by it, but others here mostly don't mind it or like it. Surely, the dialogue is one of the film's assets, fitting inquiring thought to visual mood and an often darkly naturalistic tenor. ... You think you know noir, and then along comes a nice surprise like this one.
Review of The Scarf
