Nobody Lives Forever (1946)

Ex-GI Nick Blake gets involved in a scheme to fleece a rich young widow, but finds himself falling for her for real, much to the displeasure of his racketeer cohorts.

Director:

Jean Negulesco

Writer:

W.R. Burnett (original screenplay)

Stars:

John Garfield, Geraldine Fitzgerald, Walter Brennan

Cast

Complete credited cast:
John Garfield	...	Nick Blake
Geraldine Fitzgerald	...	Gladys Halvorsen
Walter Brennan	...	Pop Gruber
Faye Emerson	...	Toni Blackburn
George Coulouris	...	Doc Ganson
George Tobias	...	Al Doyle
Robert Shayne	...	Chet King
Richard Gaines	...	Charles Manning
Richard Erdman	...	Bellboy, The Marwood Arms (as Dick Erdman)
James Flavin	...	Shake Thomas
Ralph Peters	...	Windy Mather
Rest of cast listed alphabetically:
Fred Kelsey	...	Railroad Conductor (scenes deleted)

Storyline

Ex-GI Nick Blake gets involved in a scheme to fleece a rich young widow, but finds himself falling for her for real, much to the displeasure of his racketeer cohorts.

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Plot Keywords:

widow | crime gone awry | plan gone wrong | con artist | con man | 

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Genres:

Crime | Drama | Film-Noir

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Details

Country:

USA

Language:

English

Release Date:

1 November 1946 (USA)

Also Known As:

Amor de Salvação

Filming Locations:

Sheraton-Town House, 2961 Wilshire Boulevard, Los Angeles, California, USA

Company Credits

Production Co:

Warner Bros

Technical Specs

Runtime:

100 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Humphrey Bogart refused the role of Nick Blake.

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Quotes

Nick Blake: People like me don't change.

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Connections

Referenced in The Likes of Louise (1974)

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Soundtracks

"Roses from the South (Rosen aus dem Süden, Op. 388)"
(uncredited)
Music by Johann Strauß
Played at the restaurant

User Reviews

Promising Noir -- Mixed Results

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.