Every film from Roger Ebert's "Great Movies" essays.
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.
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…
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?!
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'm really kicking myself now for not getting into Nicholas Ray earlier. After seeing Rebel Without a Cause a few years back during my James Dean fad, I stumbled upon Bigger than Life last week and loved it, so my next stop was In a Lonely Place, which was supposed to be his most underrated. In a Lonely Place's story seems to be quite conventional yet it is constantly humming with complex emotion. Humphrey Bogart certainly reached the acme of his craft here. Dixon Steele is a very flawed man who, although seemingly distant and aloof, is achingly lonely. His hamartia being his fiery and erratic temper. Bogart's portrayal is incredibly rich and he is able to elicit some gut-wrenching…
I love movies about writers.
I love Humphrey Bogart.
I love romance.
I love murder mysteries.
Therefore, I have nothing but love for this film.
In a Lonely Place is a very well-done crime drama about a troubled screenwriter named Dix Steele who is implicated in the murder of Mildred, a woman he invited to his home on the night of her murder. Dix is a dick (sorry, I couldn't resist) to Mildred, but it doesn't stop you from mentally defending him against the investigator's accusations. He meets his neighbor Laurel Gray for the first time during the ordeal, an aspiring actress who falls for Dix immediately. As the investigation continues and her relationship with Dix becomes increasingly problematic, she desperately tries to disentangle herself. Highly recommended for fans of Bogey's brand of film noir.
A surprisingly solid noir film, that hinges on an excellent performance from Humphrey Bogart. He's everything in this film, and it's his presence that makes it so entertaining.
I've never been a big Bogie fan; he just feels awkward to me in a lot of his roles, especially when he's trying to be charming or romantic. I don't mind him in more rugged roles like Treasure of the Sierra Madre or The African Queen. Here he's not that detective or loverboy but a Hollywood screenwriter, and I think he does fairly well here. He gets suspected of murdering a girl who pitched a screenplay idea to him, and from there a grim and grungy plot unfolds, which includes murder and a twist or two. I'm not overall a huge fan of the noir genre, but the suspense and mystery were more than enough to keep the viewer entertained here. It shows a bit of the dark side of Hollywood, not to mention the dark side of Bogart.
In case you're wondering, Ray is still cinema.
Same year as Wilder's SUNSET BLVD and Mankiewicz's ALL ABOUT EVE. Literalizing the twisted weirdness of Hollywood -- sadism of killing characters, showing the killing, really killing, etc. -- but into a deeper, wordier, more interesting place than either of those two tried (both of which were about the actresses who starred in films and whored for them, not the screenwriters who I would say built them). I didn't like Ray's '55 REBEL WITHOUT A CAUSE (overcooked, sloppy, spoiled, weak), but in this earlier noir he really bites well. It's all so darkened, blackened, genuinely _noir_. Everything always dangerously close to murder, at every little flared-temper hint. According to Louise Brooks, an earlier actress who wrote about Bogart, his lead…
Noir November (Film #54)
"There's no sacrifice too great for a chance at immortality."
Nicholas Ray continues to impress me with his willingness to push the limit with his subject matter and emotion. In 1954 with Johnny Guitar he made a western about a strong, independent female who stood up against a group of male chauvinists, clearly driving home a message about women's rights. In 1956 with Bigger Than Life he shows the affects of substance abuse and addiction, a topic that was hardly ever addressed in film at the time. In 1950 Ray released In a Lonely Place and yet again manages to do something most other directors would have never tried. But this time, rather than making a…
♫ They found love in a lonely place. ♫
Συγγραφέας με παρελθόν βίαιας συμπεριφοράς, είναι ο τελευταίος που βλέπει ζωντανή νεαρή κοπέλα που βρίσκεται δολοφονημένη,κάτι που τον καθιστά βασικό ύποπτο για φόνο.Άψογο νουάρ με τον Bogart σε μεγάλα κέφια, σε σκηνοθεσία του τεράστιου Nicholas Ray.
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