All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
In a Lonely Place
The Bogart suspense picture with the surprise finish -
Dixon 'Dix' Steele, a down-on-his-luck screenwriter needs to adapt a trashy novel. At a night club, the hat-check girl, Mildred Atkinson is engrossed reading it. Too tired to read the novel, he asks Mildred to go home with him, to explain the plot. Later that night, Mildred is murdered and Steele is a prime suspect, his record of violence when angry goes against him.
"I was born when she kissed me, I died when she left me, I lived a few weeks while she loved me."
of course, but so many other immortal lines here. one of the rawest films the studio system ever produced.
Scenes from a Noir Marriage
or as Netflix might categorize it: "existential romance"
this is what we talk about when we talk about Bogart.
poor Ray & Grahame... i thought those crazy kids were gonna make it.
5 Reasons why this film is a masterpiece:
1. It's the best film Nick Ray ever made; a noir-tinged drama rendered in dark visuals of exhilarating beauty.
2. It showcases probably the greatest performance of Bogie's career as the short-fused screenwriter Dix Steele, a character he imbues with a neurotic edge that is frightening in its intensity.
3. This dialogue: 'I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me'.
4. Gloria Grahame is in it.
5. It just 'is', OK?!
I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.
It's not Nicholas Ray's most famous film, but it's his best. He directed it from a great script by Andrew Solt which is a loose adaptation of the novel by Dorothy B. Hughes and it features Humphrey Bogart and Gloria Grahame at their very best. Ray directed it while going through personal problems of his own and ended up creating a dark masterpiece.
Bogart purchased the story to produce through his own company, Santana Productions. As the main character, Dixon Steele, is a screenwriter, I can't help but think this was one of the reasons that…
1.) How have I not seen every Nicholas Ray film?
2.) How have I not seen every Gloria Grahame film?
3.) What the hell is my problem?
How would you react if the last person you were with was declared dead, victim of a murder? Most people would probably be shocked, but Bogart's Dixon Steele, an emotionless Hollywood screenwriter, is different; he doesn't even react, as if he was already expecting it. Maybe he's not even guilty, but the fact that he isn't shocked by the news makes him the prime suspect, as if it was a crime to show a complete apathy towards everything that surrounds you. Dix is one of the most fascinating characters I've ever seen, he's indecipherable and we never know what he's thinking, but there's a bizarre humanism behind his emotionless facial expressions and violent nature that makes us care about him,…
What an absolutely fantastic film. It is part love story, film-noir and dark satire of the Hollywood system.
Bogart is at his best here as Dixon Steele, a complex unsentimental screenwriter who is as charming and witty as he is cold, methodical and cynical. When he is reminded that he hasn't written a good script in years he delivers a scathing condemnation of Hollywood as relevant today as it was in the late 40s. Hollywood doesn't want good scripts; it has been remaking the same bad film for years because that is what sells popcorn.
Dixon is known to be quick-tempered and violent, which makes him the prime suspect in a major crime. His beautiful neighbour Laurel Gray (Gloria Grahame…
I think I've seen this three times now and couldn't for the life of me remember if it was just a straight dramatic noir or if its tone was more nuanced (nuance being something Nicholas Ray seemed adept at conjuring). Fortunately it is nuanced. It has moments of comedy and suspense and drama.
This film has only grown in my mind since I viewed it a week or so ago. It seems like it was a very personal, dark and sad confessional by the filmmaker, and possibly by Bogart as well, masquerading as a Noir thriller, which it really isn't. It feels violent and it feels bitter and filled with some kind of self-loathing. I may be off the mark but I want to see this again and I want to learn about Nic Ray.
I feel this would make a good companion piece to Bring Me the Head of Alfredo Garcia which I saw earlier in this month's season of films.
Not as compelling as some other noirs of the era. Bogart is obviously good value but Grahame didn't really do it for me.
It's tough being smart. And whatever you do, kids, don't be a smart screenwriter, for doom awaits
35mm, The Cinematheque
A writer's film through and through, and not just because of its protagonist. Bogart's Steele, in a distinctly tortured role, almost single-handedly creates the drama, spinning lines and staging scenes, both aware of and yet unable to control the consequences. (A character muses: "I used to think that actors made up their own lines." Who better than an actual screenwriter?) Initial noir setup gives way to something else, a "woman's picture" almost, with its glimmers of hope built on the certainty of the first meeting. But that certainty erodes, with the relationship becoming fraught by its very progression, bringing the film to something else entirely. It's as bittersweet a romance as they come; the surrounding "story" becomes almost tossed…
"I lived a few weeks while you loved me."
Very dark and very disturbed. A move away from intricate conspiracies to a more emotional and maybe cosmic angst. It doesn't quite have the directorial or linguistic power of Double Indemnity, but it does often reach levels of legitimate rivalry with that film.
Vaults into one of my top films of all time.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…