Other Titles • In a Lonely Place • Late at Night (1950) • Einsamer Ort, Ein (1989)
Synopses for In a Lonely Place (1950)
1.
One of Humphrey Bogart's finest performances dominates this unusual 1950 film noir, which focuses less on the murder mystery at the center of its plot than on the investigation's devastating effect on a fragile romance. For Bogart, already a noir icon, the Andrew Solt script afforded an opportunity to explore a more complex and contradictory role--an antiheroic persona in line with the actor's most accomplished and absorbing triumphs throughout his career.
For maverick director Nicholas Ray, the film posed the challenge of taking crime dramas beyond their usual formulas and into a more mature realm, as well as a chance to cast a jaundiced eye on the film industry itself. Its protagonist is Dixon Steele, a Hollywood screenwriter with an acerbic wit and a violent temper. Tasked with adapting a bestseller, he meets a hatcheck girl who's read the book, hoping to glean its highlights before writing the script. When she's found murdered, Steele becomes the prime suspect, and a tightening knot of suspicion forms around the writer.
Steele's only, inconclusive witness is a pretty new neighbor, Laurel (Gloria Grahame), and the couple fall in love even as the pressure mounts. At first the new relationship is a tonic to the hard-boiled writer, who plunges into his script with a renewed vigor and discipline. But as the police continue to shadow him, Steele's own penchant for violence erupts against friends, strangers, and even Laurel herself, whose feelings are increasingly eclipsed by suspicion that her lover is a murderer, and fear that he'll harm her.
Bogart conveys Steele's world-weariness and underlying vulnerability, and manages the delicate task of making both his romantic yearning and sudden, murderous rages equally convincing. Ultimately, that performance and Grahame's sympathetic work elevate In a Lonely Place into what has been called "an existential love story" more than a crime drama. --Sam Sutherland
2.
Just when hotheaded Hollywood screenwriter Dixon Steele (Humphrey Bogart) begins a romance with his neighbor Laurel (Gloria Graham), the police begin to suspect him of murdering a woman he once dated. Laurel believes in Dixon's innocence; however, his alibi doesn't wash with the police. As the cops continue to pressure Dixon, the lovebirds' relationship begins to crumble. Nor does Dixon's increasing hot-tempered behavior help matters. Soon, Laurel begins to suspect that the police may be right after all. Nichols Ray's classic, tense romantic thriller showcases an uncharacteristically vulnerable Bogart and delivers a sharp surprise ending.
3.
Academy Award winner Humphrey Bogart (Best Actor, The African Queen, 1951) stars as Dixon Steele, a down-on-his-luck studio scribe who reluctantly agrees to adapt a trashy bestseller to the silver screen. Rather than read the book himself, Steele convinces a star-struck hatcheck girl, Mildred Atkinson, to accompany him home and tell him the story in her own words. Later that night, Mildred is found murdered and Steele-who has a history of violent behavior-becomes the prime suspect. Fortunately for him, his sexy neighbor, Laurel Grey (Gloria Grahame)-who is physically attracted to the writer-lies to the police by providing Steele with an air-tight alibi. But is he truly innocent of Mildred's death or is Laurel destined to become the next victim of Steele's violent temper?
4.
One of the classics of the noir psychological thriller, In a Lonely Place is one of Humphrey Bogart's finest performances. He is almost unbearably intense as Dixon Steele, a screenwriter with high standards and a nasty temper who finds himself under suspicion when Mildred, a hat-check girl he knows, is found murdered. Immediately he gets an alibi from a neighbour, Laurel, and equally quickly, he recognises that this is a woman who meets his standards: the question is, as suspicion of his involvement in Mildred's death continues, can he make himself meet hers?
This is a wonderful study in trust and suspicion and the limits of love; Bogart's performance is impressive simply because he is prepared to go well over the limits of our sympathy in the name of emotional truth. The scene where he explains imaginatively to a cop and his wife how the murder might have happened is a spine-chilling, creepy portrait of amoral artistic brilliance. Gloria Grahame is equally fine as the woman who lets herself love him, for a while.
On the DVD:In a Lonely Place comes with an excellent documentary in which Curtis Hanson (LA Confidential) explains the importance of the film to him and discusses its place in the work of Bogart and the director Nicholas Ray; there is also a quick interesting documentary about the restoration and digitisation of classic films. The film is presented with a visual aspect ratio of 1.33:1 and with restored Dolby Surround sound that does full justice to the film's snappy dialogue and the moody George Antheil score. --Roz Kaveney
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