Andrew Morton is an attorney who made it out of the slums. Nick Romano is his client, a young man with a long string of crimes behind him. After he lost his paycheck gambling, hoping to buy... See full summary »
A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Screenwriter Dixon Steele, faced with the odious task of scripting a trashy bestseller, has hat-check girl Mildred Atkinson tell him the story in her own words. Later that night, Mildred is murdered and Steele is a prime suspect; his record of belligerence when angry and his macabre sense of humor tell against him. Fortunately, lovely neighbor Laurel Gray gives him an alibi. Laurel proves to be just what Steele needed, and their friendship ripens into love. Will suspicion, doubt, and Steele's inner demons come between them? Written by
Rod Crawford <firstname.lastname@example.org>
Though the title and characters are based on Dorothy B. Hughes's novel, the biggest difference between book and movie is that in the movie Dixon Steele, though violent, is only accused of being a murderer while in the book he is a serial killer and rapist. Director Nicholas Ray claimed that he made the change because he was "more interested in doing a film about the violence in all of us, rather than a mass murder film or one about a psychotic." Hughes was never bothered by the changes from her novel and praised Gloria Grahame's performance. See more »
In the Laurel's apartment, Mel talks with her about Dixon. In a certain moment he has his right arm by his side. Next shot he walks away with his right hand in the pocket. See more »
Before I started to go to work at Paul's, I used to think that actors made up their own lines.
When they get to be big stars, they usually do.
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This is one of my all time favourite films, and (alongside the obvious - Casablanca, Maltese Falcon etc) my favourite Bogart.
The script is smart, witty and cynical, just like a typical Bogart character. But in this film Bogart plays probably his darkest character.
In some of the scenes with Gloria Graeme he's at his smooth, wisecracking, slightly irritable best, but in the moments where the anger and the fog of despair descends he is a more threatening character than in any of his other leading man roles.
The cynical, darker aspects of this film just go to highlight how few contemporary films are prepared to be so bleak.
Despite the fact that the plot is ostensibly a 'did he do it?' crime story, this is largely inconsequential to the psychological character and relationship study that is the central concern of the film.
If you like a cracking script with sharp performances, with all kinds of deep psychological observations on love and loneliness to be read into it, in the best noir tradition, this is the film for you.
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