Review of In a Lonely Place (1950) by Blake P — 22 Oct 2012

Capturing Humphrey Bogart at his prime and Gloria Grahame at her sexy blonde stage (before the plastic surgery, Hollywood look), Nicholas Ray's "In a Lonely Place" surely is one of the best film noirs of all time.

So many other crime thrillers in the '40's/'50's had that look of the pulpy, dirty atmosphere we all enjoy, but most are so generic that it doesn't take long before we eventually forget them.

The difference with "In a Lonely Place" is that it takes these conventions, twists them up a little bit, and turns them into something darker, something more unique. And every second of it works.

We're introduced to Dixon Steele (Humphrey Bogart), a cynical, violent Hollywood screenwriter who's close to disappearing in Tinsel Town. After landing the chance of a lifetime, adapting a popular, trashy novel, Steele doesn't feel like doing the research, or following the story, and out of fun hires attractive hat girl Mildred Atkinson (Martha Stewart) to tell him the plot, for twenty bucks.

The next day, it is revealed that Mildred was murdered shortly after her visit with Steele. Luckily for him, his beautiful neighbor Laurel (Gloria Grahame), provides him with an alibi, and not only is he left somewhat off the hook, but the two eventually begin a relationship.

Laurel loves Steele, and doesn't believe he committed murder at all, but after witnessing and being the victim of violence due to Steele's irrational anger, she realizes she may have put herself in an awful situation.

At first, "In a Lonely Place" appears to be sloppy-- scenes end quickly, and characters never get fully developed. But by the end, it's easy to realize-- Ray wants the viewer to speculate on Steele's innocence, and it's accomplished by this.

We don't see the rest of the fateful night, and the next day starts in the afternoon: but what happens in-between? That's for us to think about it. Though the mystery is revealed by the end, there isn't a second you aren't thrilled, or doubting your inner ideas.

Fueled by Bogart's commanding, emotional performance and Andrew Solt's supremely witty screenplay, "In a Lonely Place" has aged beautifully over the past sixty years. Highly recommended.