In a Lonely Place (1950)
In a Lonely Place (1950)
DVD5 | ISO | NTSC 4:3 (720x480) | Cover + DVD Scan | 01:33:14 | 4,27 Gb
Audio: English (Dolby AC3, 2 ch); French (Dolby AC3, 2 ch) | Subs: English, Japanese, French, Portuguese, Spanish, Korean
Genre: Drama, Film-Noir, Mystery | 1 win | Black & White | USA
DVD5 | ISO | NTSC 4:3 (720x480) | Cover + DVD Scan | 01:33:14 | 4,27 Gb
Audio: English (Dolby AC3, 2 ch); French (Dolby AC3, 2 ch) | Subs: English, Japanese, French, Portuguese, Spanish, Korean
Genre: Drama, Film-Noir, Mystery | 1 win | Black & White | USA
Screenwriter Dixon Steele (Humphrey Bogart) becomes a murder suspect when a hatcheck girl is murdered after leaving his apartment. His refusal to enact a show of emotion raises the suspicions of the Beverly Hills police, putting the main detective on the case, Brub Nicolai (Frank Lovejoy) in a tight spot, as he and Dix used to be Army buddies. Dix is initially overjoyed because the lovely neighbor who provides him with an alibi, Laurel Gray (Gloria Grahame), responds to his romantic overtures; he's a demanding man and the cool, intelligent blonde appears to be a perfect match. But Dix's background of petty brawls and his continuing streak of volatility frighten Laurel and make the cops more eager to trap him. He senses Laurel's anxiety and turns paranoid; either the strain of the investigation is ruining their chances as a couple, or perhaps, as Laurel is beginning to fear, he really is a dangerous maniac.
IMDB
DVDBeaver
In a Lonely Place (1950)
One of the most soulful films noir, and a very personal film from Nicholas Ray, In a Lonely Place is about the difficulty of holding a precious relationship together under external pressure and internal suspicion. Humphrey Bogart plays an emotionally volatile writer in a relaxed and unforced way that reveals more of the actor than we usually see: a cantankerous and stubborn man capable of great kindness, but who overreacts violently to boors and sensed disloyalty. Gloria Grahame is radiant as the cool but faithful neighbor who becomes his temporary muse, only to see her love ruined by fear and distrust. The whole enterprise is atypical for 1950 Hollywood, especially Bogart's other formulaic productions for Columbia. Even in the quirky realm of film noir, this low-key romantic tragedy stands out for its quality and lack of commercial compromise.Excerpt from Glenn Erickson's Review on DVDSavant
In a Lonely Place (1950)
Sardonic as it is, Ray's film has a far more human element to it than the current trend of meta-cynical films about the business of making movies. In its self-reflexive treatment of the shadowy world of Hollywood deal-making, In a Lonely Place seems the unacknowledged forefather to Spike Jonze's Adaptation. But where Jonze swells and builds to blaring crescendo, Ray's apogee is suspenseful and disparate. Dixon nearly becomes the portrait of the man the police wanted him to be but relinquishes and recedes back to his loneliness in the final scene, leaving Laurel uttering those tragic few lines he once wrote for her. Grahame, who was married to Ray at the time, is a boiling plate of faithless indecision, but Bogart, after years of playing the brooding private dick, finally gets to portray the nervy, vulnerable creator of the pulpy characters he had played in Hollywood his entire life.Excerpt from Chris Cabin's Review
In a Lonely Place (1950)
This is a crisp black-and-white film with an almost ruthless efficiency of style. It taps into the psyches of the three principals: Bogart, who bought the story to produce with his company; Nicholas Ray, a lean iconoclast of films about wounded men (James Dean in "Rebel Without Cause"), and the legendary Gloria Grahame (1923-1981), whose life story inspired Peter Turner's extraordinary book Film Stars Don't Die in Liverpool. Turner was the last of her many loves. She was married to Nicholas Ray but that ended during the making of this film, when Ray found her in bed with his 13-year-old son by an earlier marriage. (She and the boy, Tony, were married from 1960 to 1974.)
In a Lonely Place (1950)
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Life on the set was obviously fraught with emotional hazards. Ray had modeled the movie's apartment complex on an apartment he once occupied at Villa Primavera in West Hollywood. When he moved out on Grahame, I learn from critic J. Hoberman, Ray actually moved onto the set and started sleeping there. The relationship between Dixon and Laurel mirrored aspects of Bogart's own with the younger, strong-willed, nurturing Lauren Bacall. Yet perhaps they all sensed that they were doing the best work of their careers – a film could be based on those three people and that experience.
In a Lonely Place (1950)
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"In a Lonely Place" is a superb example of the mature Hollywood studio system at the top of its form. Photographed with masterful economy by Burnett Guffey ("Knock on Any Door," "Bonnie and Clyde"), it understands space and uses the apartments across the courtyard to visualize the emotional relationship between Dixon and Laurel. Visible to each other, dependent on each other, they never officially move in together but remain enclosed, and no matter what they say, apart. Notice the way Guffey focuses light on Bogart's eyes during a frightening speech when he imagines how Mildred was murdered.
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Bogart embodies this noir quality flawlessly in "In a Lonely Place." He plays a good man with a hot temper who can fly into a rage when he drinks. This gives Dixon a Jekyll and Hyde quality that Laurel awakens to, leading to later scenes of terror. The monster inhabiting him is an acting-out of self-loathing, which infects his success and dooms his happiness. He foresees his fate when he quotes to her a line just written in his new screenplay: "I was born when you kissed me. I died when you left me. I lived a few weeks while you loved me."Excerpt from Rober Ebert's Review
In a Lonely Place (1950)
HQ Scans is here.
In a Lonely Place (1950)
Edition Details:
• In a Lonely Place - Revisited (Featurette).
• Restoration story.
• Info and cover for other Bogart films from Columbia.
In a Lonely Place (1950)
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