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 never hear people talk about this movie, but it's one of Bogart's best performances of his entire career. He's so wonderfully flawed in this.
I have pretty much the same complaints about the romance here as I do in other films of this time. I mean, I just wish it took a matter of a few glances to fall deeply in love with someone. Man, if that were the case, I wouldn't be in such a lonely place right now!
However, Bogart and Grahame's relationship, although initiated in an eye-rollingly rushed manner, works here because of the way it crumbles like any relationship would in similar circumstances. Because it squeezes by some of the distracting character development problems like the ones that bugged me about some Hitchcock, In a Lonely Place allows you to enjoy the peculiarities of the story and be caught in…
A potentially violent screenwriter is a murder suspect until his lovely neighbour clears him. But she begins to have doubts...
I'd never heard of this and I'm not that well versed in Bogart films (bar the obvious like Casablanca and The Maltese Falcon), but IALP seems to have a solid reputation so when it popped up on UKTV I was up for a viewing.
It's really good, Bogart is pretty great as the struggling writer who is not a very pleasant character but mainly due to his quips is very interesting to watch on screen. This is very much a Noir style film where the mystery plays very much second place to the character study of Bogart's Dixon Steele. There…
First-rate psychological thriller from Columbia Pictures. Directed by Nicholas Ray and starring Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith and Jeff Donnell. IN A LONELY PLACE is a classic example of Film Noir.
Dixon Steele (Bogart) is a struggling Hollywood screenwriter who has trouble finding work due to his alcoholism and a tendency towards violence. One night, when he's drinking at a local bar with some of his colleagues, Dix is given a book to read that might be turned into a film. A friendly hatcheck girl, Mildred (Martha Stewart), has read the book, so Dix invites her to his apartment to tell him the story so that he doesn't have to read it himself. She…
Two moments that, in light of the ending, really sting:
1) The Steele-POV shot of Mildred Atkinson recounting the trashy novel he's supposed to be reading, starting in a close-up of Atkinson looking adoringly at the famous screenwriter, and then quickly pulling away, her eyes still locked on Steele, as Steele crosses the room.
2) This exchange:
Detective Nicolai: "You know, I got married."
Steele (from the other room, without missing a beat, dismissively): "Why?"
& Gloria Grahame's face. Always Gloria Grahame's face.
& also Ray keeping the camera on Nicolai's wife's face during that first dinner scene, to catch her reaction to one of Steele's quips & her sizing up Steele. (& her subsequent reactions as the evening unfolds.)
More so a melodrama with elements of noir, In A Lonely Place is a murder mystery whereby the murder plays second fiddle to the study of the unsympathetic, violent, Bogart (Dix Steele, *snigger*) and his relationship with the aloof, yet vulnerable, Grahame. While the murder aspect of the story isn't particularly compelling (and ends up arriving at its obvious, logical conclusion), its carried by the mystery of Steele, its central performances and dialogue.
Quite enjoyable. Would make a good play. Bogart is the man.
Outstanding performance from Bogart who plays an screenwriter who is suspected of murdering a young woman
A great supporting cast played by Gloria Grahame her doubt about his innocence begins to surface the longer the film went on..
Bogart at his very best..
With his weary romanticism, Humphrey Bogart was made for Nicholas Ray, and together they produced two taut thrillers (the other was Knock on Any Door). In this one (1950, 94 min.), Bogart is an artistically depleted Hollywood screenwriter whose charm is inextricable from his deep emotional distress. He falls for a golden girl across the way, Gloria Grahame, who in turn helps him face a murder charge. Grahame and Ray were married, but they separated during the shooting, and the screen breakup of the Bogart-Grahame romance consciously incorporates elements of Ray's personality (he even used the site of his first Hollywood apartment as Bogart's home in the film). The film's subject is the attractiveness of instability, and Ray's self-examination is both narcissistic and sharply critical, in fascinating combination. It's a breathtaking work, and a key citation in the case for confession as suitable material for art.