Le violent

The story concerns a Hollywood screenwriter (Bogart) who is suspected of being a murderer. Grahame, a neighbor, steps in to defend him – she saw the murdered woman leave his apartment alone. Afterwards, they begin a relationship. But Bogart's nature is a violent one, and that violence keeps pushing forward. It makes Grahame rethink her earlier testimony, as well as fear for her own safety. It's quite a unique film for the time, one that actually deals with the possibility of an abusive man. Everything is perfectly done, and the script is wonderful. The film's tagline was 'The Bogart suspense picture with a surprise ending!' What is surprising about the ending is just how much weight it carries. 9/10.

Nicholas Ray is a director who has almost been forgotten these days, despite making brilliant movies like 'They Live By Night', 'On Dangerous Ground', 'Johnny Guitar' and 'Rebel Without A Cause', and numbering Martin Scorsese and Wim Wenders among his fans (the latter even gave him a small role in his 'The American Friend'). 'In A Lonely Place' could be Ray's best. It's a fascinating movie that mixes drama, suspense and romance in a very interesting way. You could call it Noir I suppose, but it's a very difficult movie to tie down. Humphrey Bogart plays a bitter, hard drinking and frequently violent screen writer who becomes a murder suspect when a young girl (Martha Stewart) is killed. Gloria Grahame ('Crossfire', 'The Big Set Up') is a neighbour who supplies him with an alibi. This odd way of meeting leads into a romance. At first everything is wonderful, and Bogart is even writing again, but bit by bit Grahame starts to see his dark side and begins to fear him, even suspecting that he may have been involved in the murder after all. I don't think I've ever seen Bogart better. It's a terrific performance, and while his character can be charming at times he's also surprisingly unlikeable and intense (we are told he broke an old girlfriend's nose, for example. Imagine Mel Gibson or Brad Pitt doing that in a movie today and still being the romantic lead!). Grahame pulls off a difficult role too, being torn between love and terror. They both make a great team. Such a pity they never worked together after this. I also liked Frank Lovejoy ('House Of Wax', 'The Hitch-Hiker') who plays Bogart's cop buddy. 'In A Lonely Place' is a movie not to be overlooked. I thought it was superb entertainment.

For all the praise film-noir is lavished with (quite a lot of it valid), the majority of it relies on convention as much as the standard white-picket-fence, happy-ending 'family' film does: just invert the

cliches and bathe them in deep-focus shadows. While this movie, on its surface, resembles the classic-style film noir of DOUBLE INDEMNITY, it's a whole different animal. No calculating evil females or tough guys masking hearts of gold populate IN A LONELY PLACE. It's a much more wrenching and powerfully disturbing film because the murder that draws the protagonists together turns out to be of peripheral importance, while the love story between Humphrey Bogart's troubled screenwriter and Gloria Grahame's B-actress spins inexorably towards damnation completely on its own power. The basic story has him a suspect in a killing and her in love with him yet unsure of his innocence, but director Nicholas Ray stages the proceedings so that WE see it's not the murder that disturbs her but her own conviction that his self-destructive and volatile nature will destroy them both. Yet, Ray never takes the easy way out of having Bogart turn monster on her. You care deeply about these people, hoping desperately (as Bogart's agent does in the film) that some transforming moment will come that will spare these people and allow their deeply felt love to flourish and heal them both, even as the evidence before your own eyes tells you there ain't no way. For 1950 -hell, for any year- such an unsentimental and uncompromising treatment of a tragic adult relationship is a terrible wonder to behold. The shadows suffusing this excellent film come not from UFA-influenced lighting but from moral and spiritual desolation, the death throes of old Hollywood, the coming of McCarthyism and the Black Dahlia murder of 1947. But most of all, they're projected from within the characters themselves. The finest work of Bogart, Grahame and Ray. Special note should be taken of Ray and Grahame, whose own deteriorating relationship formed the template for the doomed lovers; for them, this film is an act of great courage. Bogart himself has taken elements of all his previous romantic loners and blended them with the sour pigments of Fred C Dobbs; as the star and executive producer, his performance is unflinching in its honesty, and as fearless as Grahame and Ray. See this movie.

Bogart reportedly thought the movie a failure. Certainly box-office results were dismal and Bogie's production company, Santana, lost a bundle. Hard to believe anyone thought this disturbing film with its downbeat ending would actually make money. Bogart's Dix Steel (that name should have been reconsidered) is a borderline psychopath, a Jekyll and Hyde who can boil over in an instant. He's a walking volcano whose sensitive side simply cannot contain the inner turmoil. In that day, few Hollywood egos had the assurance to take on such an unflattering role, especially the shadowy later scenes where his creviced face approaches the grotesque. It's a fine and daring performance, and the last, I believe, where Bogart plays even a semi- romantic leading man.

Good as Bogart is, this is a Gloria Graham showcase. Her droopy upper lip and pouty face never quite fit the Hollywood mold, and by decade's end, she was gone. Here, however, she's near perfect as the jaded starlet, with a questionable background and just a hint of 50's kink. Her Laurel Gray emerges as a vulnerable, yet street-wise toughie, drawing the eager Steel into a torrid affair, (only hinted at because of the production code of the day). But as his character unravels, so must hers, which it does in beautifully understated stages. Watch her quietly desperate reaction to Steel following the assault on the motorist, or her barely controlled panic at film's end. It's an award-level performance, all the better for refusing to go over the top, despite the many opportunities. Small wonder she remains an enduring noir favorite.

The mystery angle may be a clever plot device, but it's director Nicholas Ray's powerful vision that makes the film gel. A poet of post-war alienation, he's the perfect overseer of such fare, combining the elements into a grimly compelling view of human estrangement and isolation. Perhaps no director other than Elia Kazan could work with a cast as effectively as Ray. Notice how distinctively each of the supporting players is drawn, from the Shakespearean drunk to the hard-bitten maid to the lounge lizards at Romanoff's. Only the cops in routine roles seem to fade into the background. Underrated in many of Ray's best films is the scoring, and this film is no exception. George Antheil's compositions are simple yet expertly conceived, highlighting the scenes without rivaling them and lending just the right emotional tone. My one complaint: I've never understood why an industry so close to the beach couldn't film at the beach, or at least couldn't have come up with a better process shot than the one here.

Nonetheless Bogart was wrong. The film is anything but a failure. Coming from an era of happy endings, Dix and Laurel remain star-crossed lovers, doomed by their own sophistication and inner demons, for which there appears no cure. Expecting uplift, audiences of the day may not have responded, but viewers during the years between have, recognizing In a Lonely Place for the noir classic it is. This quietly disturbing portrayal of one man's inability to cope continues to resonate beyond the confines of today's slam-bang world. So whatever you do, don't miss it.

Bogart is at his uncompromisingly dark best as the Hollywood writer whose temper leads to accusations of murder and conflicted relationships. By turns charming, cold, romantic and remorseful, Dix Steele is as unpredictable a character as Bogie has ever played.

He shows no emotion on learning that Mildred - the innocent he has just met - has been killed, and those who know him accept his violent nature as simply part of the Steele package. But thanks to the skill of Bogie and director Ray, the audience never entirely loses sympathy for him. The moments of tenderness he shows to his alibi-turned-lover Laurel (an ethereal Gloria Grahame; imagine Hope Davis glammed-up for the 50s) alternate with fits of anger to turn their relationship into that of a tragic poem.

In A Lonely Place is film noir that focuses on romance rather than crime. The reasons for Mildred's murder are never satisfactorily made clear, but it doesn't really matter. The movie asks whether love and trust are earned by what a person says or what they do. And in the end, actions speak louder than words.