IMDb RATING
7.1/10
2.1K
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Ex-GI Nick Blake gets involved in a scheme to fleece a rich, young widow, but finds himself falling for her, much to the displeasure of his racketeer cohorts.Ex-GI Nick Blake gets involved in a scheme to fleece a rich, young widow, but finds himself falling for her, much to the displeasure of his racketeer cohorts.Ex-GI Nick Blake gets involved in a scheme to fleece a rich, young widow, but finds himself falling for her, much to the displeasure of his racketeer cohorts.
Richard Erdman
- Bellboy at The Marwood Arms
- (as Dick Erdman)
Fred Kelsey
- Railroad Conductor
- (scenes deleted)
Robert Arthur
- Bellhop
- (uncredited)
John Barton
- Barfly
- (uncredited)
Ted Billings
- Barfly
- (uncredited)
Jack Chefe
- Hotel Waiter
- (uncredited)
Adrian Droeshout
- Bar Patron
- (uncredited)
Featured reviews
Of all the Hollywood writers now associated with classic film noir --among them James M. Cain, Raymond Chandler & Dashell Hammett the least known and perhaps least appreciated is W.R. Burnett who was responsible for the story and often the screenplay of a number of film crime classics, among them the films Scarface, Little Caesar, High Sierra and Asphalt Jungle. Burnett's dialog is as sharp and tough as the others, and he often displays a finer insight and even greater sympathy for the criminal mind than the others whose stories feature and sometimes romanticize the hard-boiled detective. This excellently directed and photographed film tells the story of a charming con-man, perfectly played by John Garfield, who falls for the widow he is trying to cheat. The petty crooks who people his world played by a superb cast of character actors (George Coulouris, Walter Brennan, George Tobias) are all clearly drawn and don't resemble the usual cliché gang members of other films. Burnett obviously knew this world better than his colleagues.
Geraldine Fitzgerald gets the glamor treatment here as a young widow about to be bilked by ex-soldier John Garfield in this post-war film. Both stars give wonderful performances and are ably supported by a neat cast consisting of Walter Brennan, Faye Emerson, George Coulouris, George Tobias, and Richard Gaines. Garfield, an experienced con man, comes back from the war changed. Drawn into a scheme to con a rich widow, he finds himself falling for her instead.
The stars are lovely together, and the film has a rich atmosphere throughout, each setting clearly defining the moment. The nightclub scenes evoke the '40s postwar feeling, the California scenes are bright and sunny, and the scenes on the pier are spooky and dense with fog. A very good film.
The stars are lovely together, and the film has a rich atmosphere throughout, each setting clearly defining the moment. The nightclub scenes evoke the '40s postwar feeling, the California scenes are bright and sunny, and the scenes on the pier are spooky and dense with fog. A very good film.
The first half sets up a promising noir as returning vet and con-man Nick Blake (Garfield) deals with double-crossing sweetie Toni (Emerson) and a civilian life changed by the war. To get better bearings, he relocates to the coast of Southern California, whose miles of sun- drenched, sandy beaches looks like an advertisement for the big post-war migration that was to follow. There he's persuaded to take up his old ways by fleecing a trusting rich widow played by Fitzgerald, only he gets more than he bargained for.
It's a well thought out screenplay (WR Burnett) that provides plausible motivation for most of the many twists and turns-- except for the sultry Toni's sudden presence in California, a padded segment that perhaps justifies the actress's featured billing. The young, ruggedly handsome Garfield is excellent, as usual, and makes a persuasive con artist. Ditto Fitzgerald, whose sweetly innocent beauty could turn any man's head, including Nick's. But especially good is George Tobias in a questionable role for noir of comic relief-- he manages to be both mildly amusing and convincingly tough as Nick's loyal henchman. And, of course, there's the great Walter Brennan as aging con-man with heart, Pop Gruber. Note also the atmospheric dive where Pop hangs out, with its clamorous clientele and a barkeep who really looks like he could handle them— director Negulesco knows how to stock an effective background.
The movie contains many elements of noir, as well as the fine cast. Despite these positive elements, Negulesco's slow, deliberate pacing is more consistent with a romantic or psychological approach than with a crime drama. Consider, the final sequence on the pier and how slow and drawn-out the action is, even draining away some of the intended suspense. Ditto the agonizing wait in the coffee shop—it's colorful with the counterman, but over-done, nevertheless. I agree with reviewers who think the movie ends up straddling several movie categories, without excelling at any. In my little book, the result comes across smoothly, but doesn't combine its parts into anything more memorable than a generally entertaining studio product.
It's a well thought out screenplay (WR Burnett) that provides plausible motivation for most of the many twists and turns-- except for the sultry Toni's sudden presence in California, a padded segment that perhaps justifies the actress's featured billing. The young, ruggedly handsome Garfield is excellent, as usual, and makes a persuasive con artist. Ditto Fitzgerald, whose sweetly innocent beauty could turn any man's head, including Nick's. But especially good is George Tobias in a questionable role for noir of comic relief-- he manages to be both mildly amusing and convincingly tough as Nick's loyal henchman. And, of course, there's the great Walter Brennan as aging con-man with heart, Pop Gruber. Note also the atmospheric dive where Pop hangs out, with its clamorous clientele and a barkeep who really looks like he could handle them— director Negulesco knows how to stock an effective background.
The movie contains many elements of noir, as well as the fine cast. Despite these positive elements, Negulesco's slow, deliberate pacing is more consistent with a romantic or psychological approach than with a crime drama. Consider, the final sequence on the pier and how slow and drawn-out the action is, even draining away some of the intended suspense. Ditto the agonizing wait in the coffee shop—it's colorful with the counterman, but over-done, nevertheless. I agree with reviewers who think the movie ends up straddling several movie categories, without excelling at any. In my little book, the result comes across smoothly, but doesn't combine its parts into anything more memorable than a generally entertaining studio product.
A very usual plot covers this story. A manipulator wants to fleece a wealthy widow but falls for her instead. The problem is that he had made previous commitments with other hoods to take this woman for a ride.
John Garfield is perfect as Nick. He falls for Mrs.Halverson, a wonderful Geraldine Fitzgerald.
The gang is in top form with Walter Brennan as Pop, George Coulouris'Doc is excellent. By the way, for a hood Coulouris speaks very well and in fact sounds like a very educated person in some scenes. George Tobias really provides some comic relief, but in a straight role as Nick's sidekick.
You wonder why the Fitzgerald character can't fall in love with her financial adviser, nicely played by Richard Gaines. The two seem to be a perfect match but I guess there would be no story if that occurred.
Faye Emerson is the dame that Nick had previously hooked up with. She is a real hot number here. Few realize that in real life she had been married to Eliot Roosevelt, FDR's son.
John Garfield is perfect as Nick. He falls for Mrs.Halverson, a wonderful Geraldine Fitzgerald.
The gang is in top form with Walter Brennan as Pop, George Coulouris'Doc is excellent. By the way, for a hood Coulouris speaks very well and in fact sounds like a very educated person in some scenes. George Tobias really provides some comic relief, but in a straight role as Nick's sidekick.
You wonder why the Fitzgerald character can't fall in love with her financial adviser, nicely played by Richard Gaines. The two seem to be a perfect match but I guess there would be no story if that occurred.
Faye Emerson is the dame that Nick had previously hooked up with. She is a real hot number here. Few realize that in real life she had been married to Eliot Roosevelt, FDR's son.
Home from service in World War II, roughly handsome hotshot gambler John Garfield (as Nick Blake) tries to reconnect with sexy blonde Faye Emerson (as Toni Blackburn), but learns she's used up his dough, and hooked up with another stud. Discouraged, he moves to Los Angeles, with fawning companion George Tobias (as Al Doyle). There, con artists Walter Brennan (as Pop Gruber) and George Coulouris (as Doc Ganson) persuade Mr. Garfield to bilk $2,000,000 out of wealthy widow Geraldine Fitzgerald (as Gladys Halvorsen). "She's a dish," says Tobias, and Garfield proceeds predictably...
Probably due to its release amid so many other great Garfield films, "Nobody Lives Forever" seems to have gotten lost in the shuffle. It labors somewhat, during the last act, as the production seeks to take full advantage of a moody setting. Still, this is an excellent "film noir" from the forties. A perfect lead, Garfield is magnetically smooth. He receives great assist from Jean Negulesco's stylishly hiccuping direction, Adolph Deutsch's sweet musical score, Arthur Edeson's black-and-white camera, and the usual suspects at Warner Bros. And, the players breathe some nuance into W.R. Burnett's fine script.
******* Nobody Lives Forever (11/1/46) Jean Negulesco ~ John Garfield, Geraldine Fitzgerald, Walter Brennan, Faye Emerson
Probably due to its release amid so many other great Garfield films, "Nobody Lives Forever" seems to have gotten lost in the shuffle. It labors somewhat, during the last act, as the production seeks to take full advantage of a moody setting. Still, this is an excellent "film noir" from the forties. A perfect lead, Garfield is magnetically smooth. He receives great assist from Jean Negulesco's stylishly hiccuping direction, Adolph Deutsch's sweet musical score, Arthur Edeson's black-and-white camera, and the usual suspects at Warner Bros. And, the players breathe some nuance into W.R. Burnett's fine script.
******* Nobody Lives Forever (11/1/46) Jean Negulesco ~ John Garfield, Geraldine Fitzgerald, Walter Brennan, Faye Emerson
Did you know
- TriviaWhen Nick leaves the hospital at the beginning, the patch on his uniform's left shoulder indicates he was a member of the U.S. Army's First Infantry Division, nicknamed "The Big Red One". Later in the film Nick mentions seeing destroyed churches in Italy. The 1st Inf. Division saw action in Sicily, as well as North Africa, the D-Day invasion at Omaha Beach, the Battle of the Bulge and through the heart of Germany, ending up in Czechoslovakia by the end of the war.
- GoofsAs Pop is proposing the con on the widow to Nick and Al, the same couple (a blonde and a man in a vertically striped robe) walks past the window along the beach from right to left twice.
- Quotes
Nick Blake: People like me don't change.
- ConnectionsFeatured in Los Angeles Plays Itself (2003)
- How long is Nobody Lives Forever?Powered by Alexa
Details
- Release date
- Country of origin
- Language
- Also known as
- Venganza
- Filming locations
- Mission San Juan Capistrano - 26801 Ortega Highway, San Juan Capistrano, California, USA(Nick and Gladys tour the mission)
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 40 minutes
- Color
- Aspect ratio
- 1.37 : 1
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