The Bogart suspense picture with the surprise finish!
An aspiring actress begins to suspect that her temperamental boyfriend is a murderer.
An aspiring actress begins to suspect that her temperamental boyfriend is a murderer.
Na usamljenom mestu, Matar ou Não Matar, В yкромном месте, Nakna nerver, La muerte en un beso, Vreemde ontmoeting, Gudu difang, Behind the Mask, Διψασμένος για Ηδονή, Manden uden hæmninger, Tehlike isareti, Dipsasmenos gia idoni, El derecho de matar, Pustka, No Silêncio da Noite, Hermot pinnalla, Late at Night, Paura senza perché
"I was born when she kissed me, I died when she left me, I lived a few weeks while she loved me."
of course, but so many other immortal lines here. one of the rawest films the studio system ever produced.
Scenes from a Noir Marriage
or as Netflix might categorize it: "existential romance"
this is what we talk about when we talk about Bogart.
poor Ray & Grahame... i thought those crazy kids were gonna make it.
5 Reasons why this film is a masterpiece:
1. It's the best film Nicholas Ray ever made; a noir-tinged drama rendered in dark visuals of exhilarating beauty.
2. It showcases probably the greatest performance of Bogie's career as the short-fused screenwriter Dix Steele, a character he imbues with a neurotic edge that is frightening in its intensity.
3. This dialogue: 'I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me'.
4. Gloria Grahame is in it.
5. It just 'is', OK?!
A paranoid phantasmagoria of broken people, shattered Hollywood dreams, violent American character, Bogart and Grahame personals, New Deal and shifting political space of the era, romantic longing cut short. One of the most perfect bad trip movies, probably because it is also one of the most romantic.
"the act of a sick mind with the urge to destroy something young and lovely."
perhaps the most brutal and devastating hollywood break-up film, simultaneously an ostensible murder mystery noir where the answer doesn't bring any relief only more pain and a romance melodrama poisoned with paranoia, violence and self-loathing. a filmmaker and a killer become one and the same because both carry the impulse to take what's in their imagination and bring it into the real, tangible world.
1950. Two genre-defining noirs follow Hollywood's postwar darkness to its logical conclusion by setting their stories among Tinseltown's decayed soul. Sunset Boulevard is one of Billy Wilder's expertly crafted closed loops, a vision of Hollywood as an empire not merely in decline but founded upon an ideal of constant obsolescence, locking its brightest luminaries into grotesqueries of opulent rot as fame left with age. Nicholas Ray's In a Lonely Place, however, is open-ended, going so far as to abandon its original tidy, if nasty, coda in favor of a grim ambiguity that suggests cycles broken into new and even more terrifying iterations.
Ray films Hollywood not from its rotten core but its desiccated, metaphorical outskirts. It gets underway in a…
I've never seen Bogie become such a scary dude
I’ve always considered myself more of a Mildred Atkinson than a Laurel Gray—perky, opinionated, and perhaps a bit too earnest. And like Mildred (and Laurel, as it seems), I have an unfortunate knack for finding trouble (ranging from uncommonly bad luck to serious danger); nothing as calamitous as the peril Mildred experienced, but one could say instead of trekking to the taxi stand, I found myself involved with my own Dixon Steele.
Other than Mildred’s innocently effervescent humor, particularly the scene at Dix’s Beverly Hills apartment (in a refreshing, yet brief turn by Martha Stewart), the jokes in In a Lonely Place are imbued with sarcasm and sinister mirth, much like the story’s central figure, screenwriter Dixon Steele (an immortal…
"A good love scene should be about something else besides love. For instance, this one. Me fixing grapefruit. You sitting over there, dopey, half-asleep. Anyone looking at us could tell we're in love."
Dear In a Lonely Place,
Now that we've known each other for quite a while, I would like to ask you: Do you want to marry me? Because you're beautiful, brilliant, funny, mysterious, soulful, emotional and sexy—everything I like in a film, and I fear I cannot live without you anymore, nor do I want to.
Until death do us part?
Watched last week and forgot to add, looked at my phone a lot but got the gist
Starring Humphrey Bogart and Gloria Grahame, In A Lonely Place is an impressive achievement in the way that it combines it's genres while at the same time investigating a complex psychological character. Director Nicholas Ray together with cinematographer Burnett Guffey strikingly light Bogart’s face in a way that makes him frequently appear to be inhumanly terrible, and Andrew P. Solt’s screenplay of Dorothy B. Hughes' 1947 novel additionally proportions the two leads satisfactorily.
Bogart’s portrayal of the excruciatingly miserable yet agreeable loser Dixon Steele is often humorous as he unhurriedly demonstrates the vast breadth of his characters dark dispositions, and the actor takes delight in the role with a radiant show of perceptible excitement. It's a memorable character with resentment never being far from his surface and gives rise to him being a harmful and hazardous stimulus of vehemence. In a Lonely Place is a fascinatingly perverse murder mystery as well as a romantic drama.
"I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me."
It's really too bad that every review ever has to open with this quotation, because the rest of the script is exactly as sharp and snappy as this most famous line, but it really is the perfect encapsulation of the film (inasmuch as any film can be captured in 22 words). It's not just one of those quotes that fits within the context of the film—for example, "You're a popcorn salesman." is a great line because of what it means to the characters and the way Humphrey Bogart delivers it, but without already knowing these characters or seeing…
Love a quick show don’t tell lesson. Great movie for grapefruit.
Por favor la finura con la que están escritos y expuestos los diálogos. Lo que hacen Bogart y Grahame durante toda la película es una locura, pero esos últimos quince minutos no se pueden creer.
It was a simpler time when a movie would announce that it has a “surprise finish” in the tagline. All of a sudden it’s not a surprise anymore. But what it does have is some excellent acting from Humphrey Bogart and Gloria Grahame, along with a poignant look at loneliness and insecurity in relationships.
“You’ve given this a lot of thought, haven’t you?” - “Well, [...] I have killed dozens of people - in pictures”
In a Lonely Place’s comment on Hollywood is a lot more subtle than those made in similar movies such as Sunset Boulevard, which has been released the same year. This murder mystery noir features two psychologically complex protagonists - a struggling screenwriter and an aspiring actress - who move between reality and fiction until they both start to question each other’s true identity. The movie depicts the characters’ disturbing fragmentation, which is often associated with celebrities - especially actresses - and consequent impossibility of a happy ending in a perfectly melodramatic manner.
Grahame and Bogart both deliver A+ performances and the witty dialogue is filled with many profound lines - I had a great time watching this one.
Only Humphrey Bogart could make a toxic asshole so sympathetic and relatable.
I'm in love with this movie
It’s one thing for Bogie to craft a monstrous portrait of abuse perpetrated by a genuine villain, but what really shreds your soul is that he also delivers a full helping of charm, tenderness, creativity, wit, sadness, and remorse to accompany all that cruelty and bottled-up rage. It’s those extra layers of humanity that make the inevitable barrage of gut punches that the story unleashes on the audience all the more painful and tragic. That, and the fact that Gloria Grahame gives a sensitive, captivating, deeply self-aware performance that’s every bit the equal of Bogart’s whirlwind of testosterone and terror.
Humphrey Bogart's best performance is on display here. He always had an anti-hero quality to the protagonists that he played. Here, he takes full advantage of that aspect of his acting.
This review may contain spoilers. I can handle the truth.
At first I wasn't sold and was a bit annoyed by the shift in personality of Gloria's character (played by Gloria Grahame) early on. But as the film progressed I understood things better. And the film really draws you in and the acting is phenomenal. Humphrey Bogart is fantastic in the role of Dix Steele and is absolutely terrifying. The scene when he talks to Brub and his wife and makes them reenact his theory of what happened in the car is so intense due to Bogart's facial expressions.
3.5 or 4 stars. Can't really make up my mind. But the acting and intensity is really great.
The violence in Nick Ray movies just feels more violent than in other thrillers. It's raw and senseless and startling and his characters' awareness of the danger which surrounds them often just leads to them being cornered with their eyes wide open. In a Lonely Place is both noir and melodrama, but its violence is neither atmospheric (in the way that is typical for noir) nor orderly (in the way that is typical for melodrama... and also noir, especially when it's directed by Billy Wilder). Revisiting this after several years, it's scarier, sadder, and even more deeply invested in Laurel's perspective than I remembered, Gloria Grahame as Laurel more radiant and fascinatingly dressed (an interest in fashion also seems to…
i've got big adhd brain so my love for old movies starts with the great dictator and psycho, i wish i wasn't like this because i know there's good movies made before 1970 but i just don't have the attention span... but this was actually really good and managed to keep me entertained throughout the whole thing!!
This starred Bogart so thought it would be a classic Hollywood noir mystery but hey this was pretty great regardless
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