There weren’t many directors working in golden years of the Hollywood system like Nicholas Ray. He was, by many definitions, something of a maverick. Few would arrive at such a conclusion, for example, by looking at the casts he collaborated with. Gloria Graham, Robert Ryan, Ida Lupino, Humphrey Bogart, Farley Granger, Joan Crawford, these and many, many more were heavy hitters in the industry. Nay, it was the director’s penchant for devastating exposés on human, more often male, frailty that made him such a unique voice in the film business. On Dangerous Ground, They Live by Night, Bigger than Life, these are films that live on, not only because of the quality acting, music and cinematography, but because through extraordinary storytelling they challenged the conception of what men are, in some cases completely turning the notion of a ‘Man’s man’ upside down in the process: http://www.cutprintfilm.com/features/columns/friday-noir/friday-noir-in-a-lonely-place/
Ray was a superb director, but I don't agree that "In a Lonely Place" is a masterpiece. It's captivating, intriguing, and at moments nasty. But it's a flawed film. First off, the script is actually very thin, with little story to it. I know, it's been described as a "character study", which is fine, but the screenplay comes nowhere near such films as "Double Indemnity", "Laura", and "The Postman Always Rings Twice" (I doubt the book "Lonely" is based on comes anywhere near James Cain's books).
SPOILER ALERT:
I also find it frustrating that we SEE the hatcheck girl leave Bogart's apartment. In other words, we, the audience, know he's not guilty. It would've been much sharper to fade the scene out before she decides to leave. We would wonder not only if Bogie was telling the truth, but also if Grahame was telling the truth. If Bogie was lying about her leaving, then we'd know HE knew Grahame was supplying him with a fake alibi. But the audience knows what happened, and it dampens the enjoyment. In any case, not much else happens in the movie. And the real killer is totally predictable. Not much suspense there either.
Don't get me wrong. This is a fascinating, moody film (it's one of those pictures that demands repeated viewings to truly appreciate its qualities).
As for the acting, I don't believe for a second that this is Bogart's finest performance, as some have written. I've seen him do much better work than this. But Grahame is a revelation, and I believe she gives the best performance in the film. Because she was known as "a bit loony" in real life, one tends to erase the barriers between the actress and her characters since she often portrayed loopy women. This is the most "normal" character I have ever seen her play, and she is simply marvelous.
I also find it frustrating that we SEE the hatcheck girl leave Bogart's
apartment. In other words, we, the audience, know he's not guilty. It would've
been much sharper to fade the scene out before she decides to leave.
I thought about this too. But if the film goes like quoted above, it becomes Suspicion (1941) by Hitchock.
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The film also doesn't rule out the possibility that Dixon connected with her and murdered her later. We don't *know* anything until the confession moment.
Electric dialogue by an actor who "writes dialogue", direction by a master of the craft who quickly makes brilliant script changes as needed, excellent cinematography, taut film editing that display importance in every frame, and lighting (especially on Bogey's face) and production design with emotional relevance in every scene.
And, the actors and actresses are not too shabby.
But, it's the behind-the-camera crew assembled by Columbia that keeps this film the classic that it has remained. Fighting the young and challenging field of television for entertainment dollars in 1950, Columbia pulled out all the stops to show here that super talent still remained within the old film studio system.
Please, there are plenty of quality films made in late '49 (when "Lonely" was shot). Had this been made in, say, '58, I'd see your point. The "old" studio system was still firmly in place in 1950.
Very close. A very honest look at the damage anger does to an individual and the people around him. And how difficult it is to control that anger, even when you know it's necessary.