Les Amants de la nuit

Nicholas Ray's first film is a fascinating, enveloping example of a filmmaker getting as much as he can out of so little. His film was made under the radar at RKO, despite having John Houseman as a producer. While also having a cast of really unknowns, he also uses it to his advantage to tell a small story very well. It's close to being one of the more 'text-book' examples, in the story's core, in the history of B-noir (film-noir that didn't get the hype of The Big Sleep or Out of the Past, star vehicles as much as unique thrillers). Bowie (Farley Granger, soon to be a Hitchcock stock-player) escapes from jail with the help of a couple of bank robbers who make him, as they say, "an investment." He meets a girl, Keechie (Cathy O'Donnell), daughter of a farmer they pass by, and he becomes friends with her, so to speak. She agrees to leave town with him and they also decide, almost on a whim, to get married (for twenty bucks no less). But soon, very soon, fall in love, however, despite the checkered and now notorious past catching up to Bowie.

Obviously, if you're looking for stellar, "method" acting, look elsewhere in the main performances. But they do have enough of a pull in their chemistry on screen- sometimes rough and spelling of their doomed relationship, other times tragically tender- to back up the best aspects to the film. The true pleasures in seeing They Live By Night are the details that Ray lays in the scenes, bits of life probably taken from the book the movie's based on. Godard once proclaimed that Ray "IS cinema". If this statement does hold validity to a degree, it shows for certain even in Ray's debut in the scenes with the secondary platers. Such as the wedding scene, or in general with the dialog in the script (i.e. "Between him and the chicken, I'd bet on the chicken", or "I'm the black sheep" "the only thing black about you are your eyelashes), or even with the strengths in Ray's camera as a simple storyteller. In a sense this cuts right to the chase with the theme of doomed youth, years before Rebel Without a Cause yet with the given desperation of the noir films.

While generally less seen than Ray's other films (though more attributable to being less available on video), it's likely one of his best; a powerful mix of the bittersweet tale of a criminal and his love that would decades later meld with other crime-film elements into a work like True Romance.

Nicholas Ray's first feature, in 1949, was an adaptation of the novel Thieves Like Us (which Robert Altman so memorably filmed in the mid-1970s). It's a bit of a surprise to encounter the same characters -- Bowie, Keechie, T-Dub et al. -- in postwar black-and-white. Farley Granger and Cathy O'Donnell play the star-crossed lovers later rended by Keith Carradine and Shelly Duvall, and they bring a vulnerable, doomed edge to this very interesting, tragic movie. (Granger may never have been better during his brief bout of stardom). The supporting cast isn't quite up to the level of Altman's (without Louise Fletcher and her odd little girl), but on the whole this remains an honorable and moving piece of film art -- and a vital instalment, along with the same year's Gun Crazy (also a tale of doomed, romantic outlaws), in the noir cycle.

This is a very good film noir movie with excellent performances from the leads Farley Granger (of Hitchcock's "Rope" and "Strangers on a Train" and another great film noir movie "The Edge of Doom") and Cathy O'Donnell, whom I have not seen in any other role. Howard Da Silva also gives an excellent performance as a "one-eyed lush" of a gangster. I saw this movie as a teenager when it first came out and had not seen it since until recently, but I still think it holds up well as a movie well worth watching. Farley Granger, who tired of being cast as a "pretty boy" in trouble with the law and sought his fortunes elsewhere, in Europe, was a big loss to American movies.

They Live By Night (AKA: The Twisted Road) is directed by Nicholas Ray and written by Ray and Charles Schnee who adapt from Edward Anderson's novel Thieves Like Us. It stars Cathy O'Donnell, Farley Granger, Howard Da Silva & Jay C. Flippen. Produced by John Houseman out of RKO, it's photographed by George E. Diskant and music is by Leigh Harline.

Ray's debut feature (it was actually wrapped in 1947) is a potent piece of film noir set during the Great Depression. Story follows Bowie (Granger), a naive young man who escapes from prison with two hardened criminals, Chicamaw (Da Silva) & T-Dub (Flippen), and finds unexpected love in the form of the almost saintly Keechie (O'Donnell). However, he finds that no matter what his good intentions are, crime just wont leave him be and with Keechie in tow, goes on the run to hopefully find a better life.

It's a pretty simple story all told, one that has been well represented in film over the years with the likes of You Only Live Once, High Sierra & Gun Crazy. But as simple as the tale is, Ray's film is very much a leading light in the sub-genre of "lovers on the lam" movies. First thing of note is that there's a movement away from the normal characters that had frequented the noir driven crime world up till now. The protagonists here are not gangsters or private investigators, they are thieves, and country folk too. This offers up a different viewing character wise. Admittedly the protagonists are shrouded in classic film noir hopelessness, where the air of desperation hangs heavy throughout, but the characterisation shift gives the simple story a lift.

From the outset it's evident that this is an intriguing, even curious, picture. A shot of our loving couple sharing a kiss is accompanied with a title card telling us that they were never properly introduced to the world we live in. A blast of Harline's music startles them and we then cut to an aerial shot (Ray leading the way for helicopter shots) of the three escapee's in the getaway car. In those 30 seconds Ray has managed to convey that his film will be an energetic, yet doom laden, love story. Quite a feat for a fledgling director to be unique right from the off. It's interesting to note that Ray himself said that he wasn't trying to make a film noir movie, he was merely telling a tragic love story. Just another point of reference as to why the film is so fascinating.

Be that as it may, They Live By Night pulses with noir blood. From its perpetual moody atmospherics, to the romantic narrative being punctured by moments of violence, it deserves its classic film noir status. 8/10

Farley Granger plays Bowie, a young con who escapes from the pen with two hardened criminals, Chicamaw and T-Dub played respectively by Howard Da Silva and Jay C Flippen in They Live By Night, an aptly titled film if there ever was one. Da Silva and Flippen are both terrific here, as is Cathy O'Donnel as Keechie, Bowie's equally young girlfriend. The movie revolves around the relationship between them and their efforts to get away from the life of crime that is always a few steps behind them and also to try living like normal people, during the day, instead of at night, like their criminal associates. This was Nicholas Ray's first film as a director and it certainly was a worthy effort, as it has fine performances throughout, especially O'Donnels. As the film comes to a close, you can pretty well figure out the ending, but that doesn't detract from its potency, as they are let down by one of their own, blackmailed it seems by the cops.