A Taverna do Caminho

Lupino gives a premier league performance. Take her rendition of "One for My Baby, One More For The Road": it's an object lesson in how a conventionally beautiful voice is NOT required in order to triumph as a singer. Although she croaks the number rather than sings it, she acts it as if the character has felt every ounce of suffering in the lyric - and then some.

The main attraction here are the amazing performances by Ida Lupino, and Richard Widmark. Jean Negulesco was able to capture it all in this tale of passion gone wrong.

Lily Stevens arrives at Jefty's Road House to entertain in the lounge area. Jefty, has offered her 250 a week, a sum that in Pete Morgan's estimation is a lot more than the place can afford. Pete offers money to send Lily back to Chicago because he senses she will bring chaos between him and Jefty, the man who has been generous to him and who, he feels, will fall again for this chanteuse of mysterious origins.

Thus begins one of the best films of that era. It's a noir because of the elements, but actually it might be considered a semi-noir since it's not an obvious one.

Ida Lupino had a way for 'talking' her songs at the Road House. She had a style that got to the lounge patrons that heard her sing. Her interpretation of "It's a quarter to three" is done faultlessly. Her voice, a combination of alcohol and the cigarettes she positions at the piano's lid while singing, contribute to create a portrait of the sultry woman she is. She sings "Again" twice; her rendition of that song makes it impossible for anyone else to sing it without comparing it to what Ms. Lupino did with it, much better!

Richard Widmark was the favorite looney in the 40s. His acting was always an exercise on intensity. He always played the weird roles on the screen. In "Road House" he appears almost normal until he realizes that Lily will never love him. He has to get his revenge on Pete who has stolen Lily's affection away from him. Jefty will stop at nothing in order to get her back. Thus he accuses Pete Morgan, his loyal friend, of stealing the week's receipts.

Cornel Wilde plays a passive role as Pete. He too falls for the charms of Lily, but at the same time, Lily wants him because she sees in him her own salvation from joints and a ticket to a normal life. Celeste Holm is the other principal. Her role is not as well defined. She should be resentful of Lily, but she is a kind soul who accepts the fact that Pete never loved her. Ultimately, she is the one who solves the puzzle of the missing money.

"Road House" should be seen more often.

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.

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.

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.