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drinkanddestroy
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« on: November 18, 2011, 05:15:58 AM »

http://www.imdb.com/title/tt0042593/


In a Lonely Place (1950)



First I will paste the previous discussion from the Film Noir Discussion Thread  http://www.fistful-of-leone.com/forums/index.php?topic=1822.msg138030#msg138030



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moviesceleton:

In a Lonely Place (1950) - 8/10
This is one of those movies that don't exactly blow your mind but that probably will haunt you for a long time. Or then not...we'll see about that.

---------------------------


 dave jenkins:
I think reception depends on how sensitive you are to Bogart's iconic status.

--------------------------------

moviesceleton

I'm not sure I got your point but I'd say this is the Bogiest role I've seen from him.

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dave jenkins

I'd say it is the Bogiest performance, but the role is unusual.
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Dust Devil:
The music's pretty simple yet (strangely) very touching. If slightly maladjusted.

---------------------------------------------


Cast (courtesy of imdb)

Humphrey Bogart    ...   Dixon Steele
    Gloria Grahame    ...   Laurel Gray
    Frank Lovejoy    ...   Det. Sgt. Brub Nicolai
    Carl Benton Reid    ...   Capt. Lochner
    Art Smith    ...   Agent Mel Lippman
    Jeff Donnell    ...   Sylvia Nicolai
    Martha Stewart    ...   Mildred Atkinson
    Robert Warwick    ...   Charlie Waterman
    Morris Ankrum    ...   Lloyd Barnes
    William Ching    ...   Ted Barton
    Steven Geray    ...   Paul, Headwaiter
    Hadda Brooks    ...   Singer

Dixon Steele (Humphrey Bogart) is a screenwriter who is burned out on life, with no successes in recent years. After Dixon is suspected of a murder, he meets his neighbor Laurel Gray (Gloria Grahame) in the police station, where she provides testimony to clear him, and they strike up a romance. Dixon and Laurel - both of whom have had difficult pasts -- are rejuvenated and blissful by their whirlwind romance. But hanging over their heads are their pasts... and the murder investigation.

This is an absolutely spectacular movie I give it a 9.5/10 with a particularly amazing performance by Bogart.

As usual, you have the great Bogie delivery of sharp, witty lines. But this performance is far more complex, with an incredible range of emotions. You really FEEL as if you are watching Dixon through the eyes of Laurel, ie. there are times that Dixon is so incredibly sweet around her, you wonder how he could have ever done those things on his rap sheet. And as some nastiness comes out, you really begin to just HATE him. You really feel you are in the seat next to Laurel, on that emotional roller coaster ride that Dixon is. It is all done so well, and none of it is in the least bit contrived. Grahame is terrific as well.

This should go to the top of the queue of anyone who hasn't seen it yet.

-----------------------------------------

Previous discussion quoted above begins at this link:

http://www.fistful-of-leone.com/forums/index.php?topic=1822.msg138030#msg138030

« Last Edit: September 20, 2017, 12:28:08 AM by drinkanddestroy » Logged

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« Reply #1 on: November 18, 2011, 07:20:54 AM »

This is another Noir I don't really care for, and adding to it on the negative side (on another level entirely) I don't like the way Gloria Graham looks in this one.

Whose idea was it that women with cropped hair was sexy??? Take a look at these comparisons, but first at extreme left is Mary Astor in The Maltese Falcon, you got to be fucking kidding me?Huh Anybody find her attractive the way she's decked out? If the Brigid O'Shaughnessy character was the least bit sexy the film even with the blah sets would have improved. Next up Gloria Grahame in "In A Lonely Place" another WTF, check her out in "The Naked Alibi" now there is a sex object. Then look at Rita Hayworth in "Lady From Shaghai" WTF was Orson Welles thinking? she is nowhere near as alluring as in Gilda on the far rt.



Again for me the visuals are what I like, so keep it in mind.

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« Reply #2 on: November 18, 2011, 09:47:19 AM »

For me Rita Hayworth was much more erotic in Lady from Shanghai than in Gilda. The short blonde hair looked great. And more modern.

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« Reply #3 on: November 18, 2011, 12:20:57 PM »

For me Rita Hayworth was much more erotic in Lady from Shanghai than in Gilda. The short blonde hair looked great. And more modern.

I completely agree.


In a Lonely Place gets my vote for the greatest US movie of all time. It's as perfect as a film can be - every scene has multiple memorable lines, Bogart and Graham are at their best and their chemistry is undeniable, and has one of the best endings in film history (never has a male female relationship been better handled by a film's conclusion).

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« Reply #4 on: November 18, 2011, 02:04:12 PM »

Sorry don't agree at all, I stand by my statements.  Cool

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« Reply #5 on: November 18, 2011, 03:29:07 PM »

I had a discussion with jenkins on this movie, lost somewhere.

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« Reply #6 on: November 18, 2011, 03:42:47 PM »

I had a discussion with jenkins on this movie, lost somewhere.

Follow the link at the bottom of the first post its there.

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« Reply #7 on: November 18, 2011, 06:48:28 PM »

Follow the link at the bottom of the first post its there.

I did, it led me nowhere.

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« Reply #8 on: November 18, 2011, 06:56:39 PM »

I did, it led me nowhere.

Yea you are right, maybe it was in Recently Watched Films, I remember you two discussing it someplace  Undecided

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« Reply #9 on: November 19, 2011, 04:26:22 PM »

SPOILER ALERT

I have one problem with the dialogue at the end: I think some things were understood and better left unsaid. Specifically, when she gets the phone call that Bogie is innocent, we all understand how now it's meaningless cuz they are done, while one day earlier, that phone call would have (perhaps) meant they could have lived happily ever after. No need for her to state the obvious. I think either no dialogue, or a round-about line (eg. something like a sarcastic "thanks, that's very helpful") would have been better than just coming out and stating the obvious as they did.

Also, at the end, she says, "I lived a few weeks while you loved me," and "Goodbye Dixon." I think that the "I lived a few weeks while you loved me" suffices; the words "Goodbye Dixon" IMO are superfluous.

That issue with the dialogue at the end is the only criticism I have of a spectacular film.


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« Reply #10 on: November 19, 2011, 04:36:34 PM »

So after I watched the movie, I read Roger Ebert's review of it (I LOVE reading Ebert -- especially when he keeps his Commie politics out of his reviews  Wink ). Anyway, I believe this is the first movie I have ever seen with Gloria Grahame and didn't know anything about her. Turns out some crazy shit was going on on the set, I'll copy and paste the two relevant paragraphs here. (I have no idea whether this is well-known and part of Hollywood lore, or whether it'll be news to some of you here and I'll sound like an idiot for posting it and admitting to having just learned of it, but wtf)..




This is a crisp black-and-white film with an almost ruthless efficiency of style. It taps into the psyches of the three principals: Bogart, who bought the story to produce with his company; Nicholas Ray, a lean iconoclast of films about wounded men (James Dean in "Rebel Without Cause"), and the legendary Gloria Grahame (1923-1981), whose life story inspired Peter Turner's extraordinary book Film Stars Don't Die in Liverpool. Turner was the last of her many loves. She was married to Nicholas Ray but that ended during the making of this film, when Ray found her in bed with his 13-year-old son by an earlier marriage. (She and the boy, Tony, were married from 1960 to 1974.)

Life on the set was obviously fraught with emotional hazards. Ray had modeled the movie's apartment complex on an apartment he once occupied at Villa Primavera in West Hollywood. When he moved out on Grahame, I learn from critic J. Hoberman, Ray actually moved onto the set and started sleeping there. The relationship between Dixon and Laurel mirrored aspects of Bogart's own with the younger, strong-willed, nurturing Lauren Bacall. Yet perhaps they all sensed that they were doing the best work of their careers -- a film could be based on those three people and that experience.



unfriggin'believable... I don't understand how Ray could go on directing Grahame in the movie after finding her in bed with his 13-year old son. I mean, was he so unselfish (or under contract!) that he decided to forget his own emotions for the sake of the movie?  And what were the laws on statutory rape back then? Did he not report it so as not to have her arrested and screw up the movie? Or to protect his son? And then ten years later, she marries that son for 14 years! unfuckingbeliveable. What a piece of trash. I am glad I did not know of this till after I watched the movie. Idk how I woulda been able to watch it knowing what I know now about Grahame  Grin

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« Reply #11 on: November 19, 2011, 06:29:18 PM »

Nicholas Ray was a piece of work also, check out his bio, the whole "family" was shall we say a  bit dysfunctional.  Roll Eyes

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« Reply #12 on: November 19, 2011, 06:52:48 PM »

This is another Noir I don't really care for, and adding to it on the negative side (on another level entirely) I don't like the way Gloria Graham looks in this one.

Whose idea was it that women with cropped hair was sexy??? Take a look at these comparisons, but first at extreme left is Mary Astor in The Maltese Falcon, you got to be fucking kidding me?Huh Anybody find her attractive the way she's decked out? If the Brigid O'Shaughnessy character was the least bit sexy the film even with the blah sets would have improved. Next up Gloria Grahame in "In A Lonely Place" another WTF, check her out in "The Naked Alibi" now there is a sex object. Then look at Rita Hayworth in "Lady From Shaghai" WTF was Orson Welles thinking? she is nowhere near as alluring as in Gilda on the far rt.



Again for me the visuals are what I like, so keep it in mind.

but in The Maltese Falcon, the main focus is not her hair. It's her "pretty neck"  Wink

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« Reply #13 on: November 19, 2011, 07:00:10 PM »

Nicholas Ray was a piece of work also, check out his bio, the whole "family" was shall we say a  bit dysfunctional.  Roll Eyes

even by dysfunctional Hollywood standards, banging your husband's 13-year old son is an entirely new level of absolute depravity (we should have a "vomiting" icon!)

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« Reply #14 on: November 19, 2011, 07:05:15 PM »

I heard a wild rumor that that sick fuck of a father, Ray, was coming on to the boy, he (the boy) very vulnerable & confused confided to Gloria and Gloria made a man out of him....  Cool Its Hollywood.

« Last Edit: November 19, 2011, 07:08:00 PM by cigar joe » Logged

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