Road House

Richard Widmark, Ida Lupino, Cornel Wilde and Celeste Holm are all in the "Road House," a 1948 film noir directed by Jean Negulesco. Widmark, fresh from his career-making role of Tommy Udo, plays Jefty, who owns a road house. His friend from the service, Wilde, runs the place. Jefty is gone on Lily (Lupino) but can't get to first base and hires her as a singer. Unfortunately, she falls for Pete. Jefty frames Pete for robbery to keep him and Lily from leaving town to get married, and then arranges with the judge to have Pete paroled to him. To say he's up to something is an understatement.

The revelation here is Lupino as a sexy torch singer. She does her own singing here, husky, seductive, very stylized and smoking. She's wonderful. Widmark is vicious as only Widmark could be, and Wilde repeats his "Leave Her to Heaven" nice guy as victim role. Celeste Holm looks great and does her usual excellent job as a woman attracted to Pete who takes pity on him and Lily just the same.

My only criticism is that there is a scene where Lily turns on the radio to a classical station where a soprano is singing "Einsam im Truben Tagen." She tells Pete that she studied opera, and her father had great ambition for her. With that whiskey and cigarette soaked set of vocal cords - I doubt it.

This was a very interesting character study of three people: "LIly Stevens" (Ida Lupino), "Jefty Robbins" (Richard Widmark) and "Pete Morgan" (Cornel Wilde).

The two guys are attracted to Lupino, who prefers good-guy Wilde. The scorned Widmark then gets his revenge. This film was a year after Widmark played sadistic killer "Tommy Udo" in "Kiss Of Death" and his character in this movie isn't too far removed from Udo. In both films, Widmark provides the spark when the story needed it.

That's not to say the rest of the cast isn't good, too, but Widmark playing these psycho villains is just fascinating and just stands out. Another fine thespian is Celeste Holm, who also is in this picture but with a role that did not stand out. I can't even remember what she did in here, although it's been awhile since I've seen this. Hopefully, this film noir will be issued on DVD some day.

This is one of my favorite film-noirs. I could watch it every night and not get tired of it. What Ida Lupino was able to do with a cigarette, a few shrugs of her shoulder and a gravelly singing voice, well lets just say they there oughta be a law against it. The casting of this film could not have been better.Richard Widmark, Ida Lupino, Cornel Wilde and Celeste Holm are all at the top of their game here. And to top it all off, it has one of the greatest bar-room brawls of all time. If you've never seen it, you're wasting valuable time here. Shut off your computer, go down to your local video store and rent it immediately. You won't be disappointed. Or better yet, try to catch it on a big screen somewhere.

A fascinating, quietly invigorating noir piece from director Jean Negulesco. Richard Widmark is fantastic as the owner of the roadhouse who spoils the marriage of Cornel Wilde and Ida Lupino in the quasi-idyllic setting located in the U.S.-Canadian border. There are two things that kept me fascinated by this odd and satisfying little noir. One is the sultry presence of Ida Lupino as the silky, smooth-voiced torch singer Lily (her rendition of "One for My Baby" is itself precious). Without a doubt this is one of Lupino's best performances. The other is director Negulesco's intriguingly stylish direction: the use of languorous long takes and deep focus, particularly in the misty, smoke-induced finale in the wilderness is quite haunting and expressive. This is the only Negulesco film I've seen. I'm looking forward to this other works.

The movie doesn't really take off until the last third when Widmark (Jefty) gets angry at last. And every fan of noir knows what happens when Widmark starts losing it. No one before or since can equal that deranged giggle, and here it's worth waiting for. Just watch his little William Tell sporting event with Lupino (Lilly) in that nightmare forest where no birds sing or deer roam. In fact, what I like best is the art department's contribution. That road house interior is a real eye-catcher, sort of a post-war mix of woodsy cabin and singles recreation center where actual people set up bowling pins while a hulking brute wrecks everything else.

Great role for Lupino. She gets to do her hard case with a soft heart as a torch singer all the way from big city Chicago. Her raspy rendition of One More for the Road is a riveting one-of- a-kind and in her own voice too. (What an immensely talented woman, and why did Hollywood never honor her for that.) Lilly's problem is not one man but two. But then by the time she slips into those white short-shorts, we know she's decided on Wilde whose manly chest no doubt has something to do with it. The trouble is that leaves Widmark as odd-man- out and we know what that means. Question-- What's the point of Susie's (Celeste Holm) role in the movie? Maybe I missed something.

Anyhow, it's an atmospheric 90 minutes, complete with rainy streets, smoky rooms, and that gloomy forest from heck. The movie may not rise to noir classic, but in the meantime, it'll sure do.