character makes an excuse for the bad behavior of Dixon Steele, a Hollywood
screenwriter played by Humphrey Bogart, by saying, “He’s a writer—people like
him can afford to be temperamental.”
in the same year as Billy Wilder’s acerbic film
noir attack on Tinsel Town, Sunset
Boulevard, and Joseph L. Mankiewicz’s similar assault on show business, All About Eve, Nicholas Ray’s In a Lonely Place was nowhere near as
popular—but it was just as scathing. It may not have been a box office success,
but the picture’s reputation has grown considerably over the decades, mainly
because Bogart’s performance as a bitter, angry movie scribe ranks among his
best onscreen personas. But it’s not pretty. The guy has anger management
issues, the likes of which probably had not been seen in a mainstream film
prior to the picture’s release. Dixon Steele is a tinder box ready to explode,
and of course he does, more than once, during the course of the story. Bogart
isn’t afraid to expose a dark side of himself in his portrayal of a man who
has, as his love interest observes, “something wrong with him.”
woman is Laurel, played by Gloria Grahame (who, at the time, was married to the
director). At first she provides an alibi to the police for Steele, who might
be a suspect in a young woman’s murder. After Dixon and Laurel fall in love,
their relationship is a stormy one. As outlined in one the supplements
contained on this new Criterion disk, the “romance” mirrors that of Nicholas
Ray and Gloria Grahame’s—they also had a tempestuous bond. It was so sticky
that Grahame had to sign a contract stating she would agree to follow Ray’s
direction during the making of the film. (And talk about sex scandals... Ray later
caught Grahame in bed with his thirteen-year-old son from a previous marriage.
Grahame eventually married the
step-son after her divorce from both Ray and another spouse in-between!)
the tale revolves around an unsolved murder investigation, In a Lonely Place is really about two lost souls trying to connect.
It’s more of a melodrama than a film noir,
although the stylistic traits of the latter certainly abound. This is not a
pleasant movie; in fact, it’s quite disturbing for a picture from 1950.
Bogart’s Dix Steele is not a likable guy, and yet we watch the train wreck that
is his life with morbid fascination. Why Bogie wasn’t nominated for a Best
Actor Oscar that year is a mystery—perhaps it was because audiences may have
been turned off by the character’s mean-spirited nastiness. Nevertheless, Lonely Place is a remarkable piece of
work, not only from Bogart, but also from Grahame and director Ray.
Criterion Collection’s new Blu-ray release features a 2K digital restoration
with an uncompressed soundtrack and a new audio commentary with film scholar
Dana Polan. The noteworthy supplements include a 40-minute excerpt from I’m a Stranger Here Myself, a 1975
documentary about Ray; a revealing new interview with Grahame’s biographer,
Vincent Curcio; a 2002 piece on the making of the movie, featuring filmmaker
Curtis Hanson; a radio adaptation from 1948 of the original Dorothy B. Hughes
novel and starring Robert Montgomery; and the theatrical trailer. An essay by
critic Imogen Sara Smith appears in the booklet.
you like your film noir tough, mean,
and nasty, then In a Lonely Place should
be right up your sleazy alley. At the same time, the tortured romance should
appeal to love-cynics everywhere. It’s so dark, it makes a Bogart/Bacall movie
look like a Tracy/Hepburn flick.