Good concept, poorly executed.

Best movie ever!

n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

The best films of this genre always show a path and provide a takeaway for being a better person.

THE DARK PAST is notable only for giving WILLIAM HOLDEN a chance to get away momentarily from the "Smiling Jim" kind of roles audiences were used to seeing him play throughout most of his early career.It's a film that came along at a time when Hollywood was discovering psychiatric themes (SPELLBOUND, THE SNAKE PIT), but it's minor league compared to those two breakthrough films.The script is a simplistic tale of a killer whose demons are exposed by a pipe-smoking psychologist (LEE J. COBB in a good performance), who explains to the hot-headed killer why he's motivated to kill. Seems there's a Freudian explanation involving a mother complex and a much hated father figure. What seems even more improbable than Cobb's one dimensional analysis is the fact that Holden, a hot-tempered guy who calls everything he can't understand "screwy", would even listen to Cobb for a single moment.Nor is NINA FOCH the best choice to play a gun moll, but she does the chore nicely enough to be forgiven in a role that would have been more suitable for someone like Gloria Grahame. Foch is attractive as the moll who is trying to understand Holden's situation while at the same time keeping Cobb's house guests under tight control.ELLEN CORBY is mind-numbingly silly as a whimpering housemaid bound in the cellar but all the other supporting roles are nicely handled.It's just that the material seems basically hokey by today's standards. Mercifully, the film runs a brief 75 minutes under Rudolph Mate's direction.Summing up: Holden gives it his all as a mentally unhinged killer, but it's an uphill battle against a mediocre script and simplistic solutions. Dated elements hold it back.

Being a big Bill Holden fan since I was a young woman, I have seen this film many times. I think the psycololical breakdown of the lead character played by Holden was very well done with the usual laid back help from Lee J. Cobb as the psychiatrist being held captive. Cobb is intrigued by Holden's torment and tries to help him, even although he fights the help at first. The dream sequences shown when Holden relates them are well done for the time period of this film. It made a big impression on me when I was young. You have to see this film from a historical perspective, not by today's standards. It was made during a much simpler time.

As others have noted, the Freud 101 psycho-babble almost ruins an otherwise good movie. Yet, if you can brush aside the silliness of the dated script, there's some excellent acting here by Lee J. Cobb and William Holden, and a fairly decent film noir plot. The claustrophobic atmosphere of so many hostages in the house, along with the growing storm outside and the nervous but vicious gangsters creates a palpable tension that builds throughout the film. Holden is at his edgiest, playing the dangerous ex-convict on the lam. But he does what he always does best, mixing in just enough sensitivity with his animal nature to create a more complex character - you actually want to like the guy, even if he has shot people down in cold blood. The chemistry between Cobb and Holden is the best part of the film and makes it worth watching, though there are many better films to spend your time with. There are many worse ones, too.

Holden had a great eye for a good script and always chose interesting three-dimensional characters and interesting situations. Other than this one, that is. Terribly dated and talky psychological drama that goes nowhere slow. One can only think Holden was forced to work on this picture, which hits you over the head with salvo after salvo of predictable psuedo-psychological double talk and laughable explorations into "hidden traumatic childhood incidents" intended to sensitively explicate present behavior in painfully simplistic terms. There is much unintentional laughter, but this is not a fun or funny movie. The great Lee J. Cobb is particularly wasted in a do-nothing part. Do yourself a favor and go rent BRIDGE ON THE RIVER KWAI or SUNSET BOULEVARD or STALAG 17 and put this psychobabble snoozefest back on the shelf.