Why this 1949 noir remains the definitive masterclass in cinematic betrayal and obsession
In short: Criss Cross is a quintessential noir tragedy that explores the destructive power of obsessive love. Featuring a career-defining performance by Yvonne De Carlo, the film weaves a complex web of triple and quadruple crosses, culminating in one of the most cynical and haunting finales in the history of the genre.
Directed by Robert Siodmak and released in 1949, Criss Cross follows Steve Thompson, a man returning to Los Angeles after two years of drifting. Despite a painful divorce, he finds himself drawn back to his ex-wife, Anna, who has since married a dangerous mobster named Slim Dundee. Thompson’s attempt to rekindle their affair leads him into a disastrous armored-truck heist, setting off a chain of betrayals that spiral out of control.
The film is celebrated for its atmospheric depiction of Bunker Hill, a neighborhood that served as a favorite backdrop for noir directors. Siodmak utilized real-world locations like the Sunshine Apartments and the Angels Flight funicular to ground the film’s dreamlike, ominous aesthetic. These locations, along with the Hill Street house where Thompson lived, were largely razed by 1960, making the film a vital visual record of a lost Los Angeles. The production itself was nearly derailed by the sudden death of producer Mark Hellinger before cameras began rolling.
Critics and historians often cite Criss Cross as a high-water mark for 1940s noir. While contemporary reviews were mixed—with T. M. Pierce of The New York Times calling it a 'mildly exciting melodrama'—modern reappraisals have been glowing. Eddie Muller, founder of the Film Noir Foundation, ranks it as the second-best noir film ever made, specifically highlighting De Carlo’s performance as a defining moment for the genre. The film’s influence remains significant, having been remade by Steven Soderbergh as The Underneath in 1995 and earning an Edgar Award for its screenplay in 1950.
What sets the film apart is its refusal to offer redemption. Siodmak’s direction, paired with Frank Planer’s dark, evocative cinematography, creates a narrative that feels like a narcotic. As the plot unfolds, the characters are trapped in a cycle of greed and desire, leading to a conclusion that is as shocking as it is inevitable. It is a rare example of a film that transcends its genre’s tropes to become a genuine, tragic work of art.
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- Summary by Intellect · source: Criss Cross (film)
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