Les Amants de la nuit

Nicholas Ray made his directorial debut in They Live By Night that's a little bit Romeo and Juliet and a little bit Bonnie and Clyde. Bonnie Parker will no way recognize Cathy O'Donnell as herself, but The Bard will no way miss seeing her as Juliet Capulet.

As for Farley Granger he was always playing sensitive and misunderstood youths like this one back in his salad days. Ostensibly he starts as an innocent kid convicted for something he didn't do and is looking for money to get a good lawyer to clear himself.

A pair of rough customers, Howard DaSilva and Jay C. Flippen break out of their prison farm in Mississippi and as Flippen puts it recognize talent when they see it and he's an investment. If Granger was innocent before he sure isn't now. But the funny thing is that the media concentrate on Granger's baby face good looks and dub him as the gang leader.

While Granger heals up from injuries sustained in the escape he does it at Will Wright's farm and gas station where he meets Cathy O'Donnell and it's instant love. But this is passion that will burn hot and fast as this love is no way meant to last.

Ray did remarkably well capturing the doomed nature of the relationship and the people. Even viewing it today by someone who never heard of Bonnie&Clyde or even has seen the classic film. There is such an aura of sadness permeating the entire film from start to finish that even though you know it will end bad, you are drawn to these people.

They Live By Night is one of Farley Granger's signature roles and a great start for the career of Nicholas Ray.

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

A beautiful yet bleak movie about doomed young love on the run. The debut directorial feature of Nicholas Ray, it starts with three escaped prisoners on the run, roughing up the driver of a car they've hijacked after robbing a bank, two of them are seasoned old pros, but the third is a fresh-faced youngster imprisoned for a murder committed when he was a teenager. Although grateful for their springing him, he is resistant to their future plans to continue a life of crime. When they turn up at a safe house peopled by an old alcoholic friend and his young daughter, she makes clear her distaste for the three escapees. Tomboyish, with her hair up and dressed in overalls, she softens to the fresh-faced lad as she nurses him through an injury he's picked up on the road.

Soon they fall in love and decide to hit the road themselves, paying $20 dollars for a cut-price marriage but while they dream of carefree days ahead, in truth, they're always looking over their shoulders, fearing his discovery by the authorities, but when he's tracked down by his old cronies and forced into another bank job which goes wrong, his notoriety only increases and you just know his days are numbered.

Central to the film is the chemistry between its young stars Farley Granger and Cathy O'Donnell, as Bowie and Keechy, both completely natural in their roles. Production Code morality of the day ensures that Granger's Bowie character is duly punished for his misdemeanours but all the way you're rooting for the youngsters to somehow come through.

Starkly filmed by Ray, he ramps up the emotional tension as every time the couple find some solace and calm on their travels something happens to set them back. A last-ditch attempt to escape to Mexico only confirms Bowie's hopelessness at his and Keechy's prospects leaving just one final betrayal to seal his fate. Shot in atmospheric black and white with many imaginatively staged scenes alternating tenderness and fear, perhaps the most striking use of Ray's cameras are the helicopter shots looking down on the fleeing characters even as their journeys will take all of them nowhere.

Watching the film, I was reminded of another earlier noir classic about ill-fated young love, Fritz Lang's superb "You Only Live Once". Both are dark, driven, doomy pieces, memorable and highly recommended, just don't look for happy endings. Even the movies don't all end that way.

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.

This was the first pairing of Farley Granger and Cathy O'Donnell and it was successful enough so that the two worked together two years later in "Side Street. I heard that this movie was sort of a early "Bonnie and Clyde," and it was, but only to a degree.

Granger and O'Donnell didn't really dominate the screen until after 40 minutes but after that, it was mostly them. Frankly, I enjoyed the first 40 minutes best when Howard da Silva and J.C. Flippen shared the screen time. They were great film noir characters in this movie (and they did come back in the second half, livening up the film again.) I liked their names in here: da Silva was "Chicamaw." and Flippen was "T-Dub." In most of the second half of this movie, it went from a noir to a romance. but that's not surprising knowing the director was Nicholas Ray.

This is the best I've ever seen O'Donnell, who never impressed me much but she's impressive here with a fine performance and a nice '40s look to her. She had a strange character name, too: "Keechie." Granger ("Arthur Bowers") does a nice job, too. For an uneducated thug, he sure comes across as a really nice guy. It's kinda of weird. He reminded me of John Dall in "Gun Crazy" (1950). Some of the camera-work also reminded me of "Gun Crazy."

However, one major detail should be noted: unlike "Gun Crazy" and "Bonnie & Clyde," the two lovers in this movie did NOT rob banks together. O'Donnell's character never gets involved in any crime, so comparing this film to those doesn't really fit. Most of "Keechie's" time is spent living in a remote cabin lodge, and suggesting periodically to her husband that he go straight - a far cry from the women Peggy Cummins and Faye Dunaway played.

Like a lot of good film noirs, this also has some very good supporting actors who play weird people, and say weird things. Some of the dialogue in this movie is fascinating because it's so odd. One example is the guy who marries the couple for $20. Another is Keechie's father.

This is a odd little "B" noir/melodrama and definitely one that film noir fans should check out. Romantics will like it, too. I'm glad it is now available on disc, as part of the Film Noir Classics Collection Volume 4.