Editing Scarlet Street (section)

==Reception==

===Box office===
According to ''[[Variety (magazine)|Variety]]'', the film earned rentals of $2.5 million in the U.S.<ref>[https://archive.org/stream/variety165-1947-01#page/n54/mode/1up "60 Top Grossers of 1946", ''Variety'' 8 January 1947 p8]</ref>

===Reception===
[[Image:Scarletstreeet.jpg|300px|thumb|Joan Bennett as Kitty March]]
''[[The New York Times|New York Times]]'' film critic [[Bosley Crowther]] gave the film a mixed review. He wrote:

<blockquote>But for those who are looking for drama of a firm and incisive sort, ''Scarlet Street'' is not likely to furnish a particularly rare experience. Dudley Nichols wrote the story from a French original, in which it might well have had a stinging and grisly vitality. In this presentation, however, it seems a sluggish and manufactured tale, emerging much more from sheer contrivance than from the passions of the characters involved. And the slight twist of tension which tightens around the principal character is lost in the middle of the picture when he is shelved for a dull stretch of plot. In the role of the love-blighted cashier Edward G. Robinson performs monotonously and with little illumination of an adventurous spirit seeking air. And, as the girl whom he loves, Joan Bennett is static and colorless, completely lacking the malevolence that should flash in her evil role. Only Dan Duryea as her boy friend hits a proper and credible stride, making a vicious and serpentine creature out of a cheap, chiseling tinhorn off the streets.<ref>[https://movies.nytimes.com/movie/review?_r=2&res=9900E1DD1339E53ABC4D52DFB466838D659EDE&oref=slogin&oref=login Crowther, Bosley]. ''The New York Times,'' film review, February 15, 1946. Last accessed: April 11, 2008.</ref></blockquote>

A review in ''[[Variety (magazine)|Variety]]'' magazine stated: "Fritz Lang's production and direction ably project the sordid tale of the romance between a milquetoast character and a gold-digging blonde ... Edward G. Robinson is the mild cashier and amateur painter whose love for Joan Bennett leads him to embezzlement, murder and disgrace. Two stars turn in top work to keep the interest high, and Dan Duryea's portrayal of the crafty and crooked opportunist whom Bennett loves is a standout in furthering the melodrama."<ref>[https://www.variety.com/review/VE1117794670.html?categoryid=31&cs=1&p=0 ''Variety''].  Film review, 1945.  Last accessed: April 11, 2008.</ref>

''[[Time (magazine)|Time]]'' magazine gave ''Scarlet Street'' a negative review, describing the plot as clichéd and with dimwitted, unethical, stock characters.<ref>[https://web.archive.org/web/20110219232416/http://www.time.com/time/magazine/article/0,9171,934425,00.html Cinema: The New Pictures, Jan. 21, 1946]</ref>

Critic Dennis Schwartz wrote in 2003:<blockquote>''Scarlet Street'' is a bleak psychological film noir that has the same leading actors as his 1944 film ''The Woman in the Window''. It sets a long-standing trend of a criminal not punished for his crime; this is the first Hollywood film where that happened ... The Edward G. Robinson character is viewed as an ordinary man who is influenced by an evil couple who take advantage of his vulnerability and lead him down an amoral road where he eventually in a passionate moment loses his head and commits murder. Chris's imagination can no longer save him from his dreadful existence, and his complete downfall comes about as the talented artist loses track of reality and his dignity.<ref>Schwartz, Dennis [http://www.sover.net/~ozus/scarletstreet.htm "An uncompromising subversive remake of Jean Renoir's La Chienne (1931)"]. Film review at ''Ozus' World Movie Reviews,'' February 13, 2003. Accessed: June 20, 2013.</ref></blockquote>

[[Image:Scarletstreet2.png|right|300px|thumb|Joan Bennett and Edward G. Robinson]]
In 1995, Matthew Bernstein wrote in ''Cinema Journal'': "The film is a dense, well-structured film noir and has been analyzed and interpreted numerous times. Some of the earliest interpretations came from censors in three different cities," adding:
<blockquote>On January 4, 1946, the New York State Censor Board banned ''Scarlet Street'' entirely, relying on the statute that gave it power to censor films that were "obscene, indecent, immoral, inhuman, sacrilegious" or whose exhibition "would tend to corrupt morals or incite to crime." As if in a chain reaction, one week later the Motion Picture Commission for the city of Milwaukee also banned the film as part of a new policy encouraged by police for "stricter regulation of undesirable films." On February 3 Christina Smith, the city censor of Atlanta, argued that because of "the sordid life it portrayed, the treatment of illicit love, the failure of the characters to receive orthodox punishment from the police, and because the picture would tend to weaken a respect for the law," ''Scarlet Street'' was "licentious, profane, obscure and contrary to the good order of the community."... Universal was discouraged from challenging the constitutionality of the censors by the protests of the national religious groups that arose as the Atlanta case went to court.<ref>{{Cite journal | last = Bernstein| first = Matthew| title = A Tale of Three Cities: The Banning of ''Scarlet Street''|journal = Cinema Journal|date=Autumn 1995| volume = 35| issue = 1| pages = 27–52| doi = 10.2307/1225806| jstor = 1225806}}, pp. 27-52.</ref></blockquote>

In 1998, [[Jonathan Rosenbaum]] of the ''[[Chicago Reader]]'' included the film in his unranked list of the best American films not included on the [[AFI's 100 Years...100 Movies|AFI Top 100]].<ref>{{cite web |last=Rosenbaum |first=Jonathan |author-link=Jonathan Rosenbaum |date=June 25, 1998 |title=List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies |url=https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 |newspaper=[[Chicago Reader]] |archive-url=https://web.archive.org/web/20200413120818/https://www.chicagoreader.com/chicago/list-o-mania/Content?oid=896619 |archive-date=April 13, 2020 |url-status=live}}</ref>