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In a Lonely Place (1950)

Approved | | Drama, Film-Noir, Mystery | 19 June 1950 (UK)
A potentially violent screenwriter is a murder suspect until his lovely neighbor clears him. But she begins to have doubts...

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(screenplay), (adaptation) | 1 more credit »
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Cast

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Art Smith ...
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Hadda Brooks ...
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

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THE BOGART SUSPENSE PICTURE WITH THE SURPRISE FINISH - (original poster)


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Release Date:

19 June 1950 (UK)  »

Also Known As:

Behind the Mask  »

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Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Although Humphrey Bogart and Gloria Grahame were 24 years apart in age, they both died at the age of 57. See more »

Goofs

In the bar, whilst Dixon orders the drinks, Mel puts his right hand on his left one, resting on the counter. In the subsequent shot, he has his arms crossed. See more »

Quotes

Laurel Gray: [on a scene in Dix's script] I love the love scene - it's very good.
Dixon Steele: Well that's because they're not always telling each other how much in love they are. 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.
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Connections

Featured in Bogart: The Untold Story (1996) See more »

Soundtracks

Either It's Love Or It Isn't
(uncredited)
Written by Doris Fisher and Allan Roberts
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User Reviews

 
A brave and smart twist to the "man alone" theme...

There was a brave and smart twist to the 'man alone' theme in an unusually literate thriller which isolated its ambivalent hero having conflicting feelings inside his own negative personality... This man was not physically isolated as Robert Ryan ('Inferno') had been: he was an embittered Hollywood screenwriter who needed self-discipline and trust… The lonely place in which he was trapped was his own mind...

Perhaps some people thought Bogart over-acted, played the writer like a criminal aggressively apt to be easily offended... but he played his role well. No gangster this time, or cop, or private eye... He was a Hollywood screenwriter—strong, easily annoyed, depressed; his nerve-ends constantly steaming; living alone with his talent, his reputation and his typewriter; impulsive rather than strengthened by a diet of alcohol and nicotine… His savage temper was uncontrollable: anything, it seemed, could explode it; and his violence was more than merely verbal…

Bogart found himself capable of murder... He might have been anti-social... But the stress within him, reacting to the pressures without, built up so strongly that his rages, always near boiling point, became explosive... He hit people without good reason...

One watched the reactions of his dream girl, the beautiful blonde Gloria Grahame, and his two close friends... With them, one came to wonder if he was not really a murderer after all...


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