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In a Lonely Place (1950)

Not Rated | | Drama, Film-Noir, Mystery | August 1950 (USA)
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A potentially violent screenwriter is a murder suspect until his lovely neighbor clears him. But she begins to have doubts.

Director:

Nicholas Ray

Writers:

Andrew Solt (screenplay), Edmund H. North (adaptation) | 1 more credit »
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1 win. See more awards »

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Cast

Complete credited cast:
Humphrey Bogart ... Dixon Steele
Gloria Grahame ... Laurel Gray
Frank Lovejoy ... Brub Nicolai
Carl Benton Reid ... Capt. Lochner
Art Smith ... 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
Hadda Brooks Hadda Brooks ... Singer
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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

Taglines:

Look Deep Into These Eyes! Is It Love, Hate Or Murder? They're The Eyes Of Humphrey Bogart In A Lonely Place. See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

August 1950 (USA) See more »

Also Known As:

Behind the Mask See more »

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Box Office

Gross USA:

$1,375,000, 31 December 1950
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

There is a moment in the trailer for the film that doesn't appear in the final cut. As Laurel is talking to the detective at the end of the film, Dix starts to leave. In the "lost moment", Laurel calls out Dix's name and they have one last embrace on the steps before he descends. See more »

Goofs

In the bar at Paul's, Dixon's left shirt collar point flips up and down depending on camera angle. See more »

Quotes

Capt. Lochner: I didn't expect you to give me more information... but certain facts contradict your original statement.
Laurel Gray: [flatly] I wish you'd say what you mean.
Capt. Lochner: Yes, let's do that. On the night of the Atkinson murder, you looked at Dixon Steele and said you didn't know him.
Laurel Gray: I didn't.
Capt. Lochner: Since then, you and he have been inseparable.
Laurel Gray: He's writing a script. I'm doing the typing.
Capt. Lochner: Do you receive a salary for this?
Laurel Gray: No. I'm doing it for love.
Capt. Lochner: [surprised] Are you in love with Mr. Steele?
Laurel Gray: For the record, I am in love with ...
[...]
See more »

Connections

Referenced in Law & Order: Special Victims Unit: Scavenger (2004) See more »

Soundtracks

Either It's Love or It Isn't
(uncredited)
Written by Doris Fisher and Allan Roberts
See more »

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User Reviews

Disturbing & Important
20 February 2001 | by fowler1See all my reviews

For all the praise film-noir is lavished with (quite a lot of it valid), the majority of it relies on convention as much as the standard white-picket-fence, happy-ending 'family' film does: just invert the

cliches and bathe them in deep-focus shadows. While this movie, on its surface, resembles the classic-style film noir of DOUBLE INDEMNITY, it's a whole different animal. No calculating evil females or tough guys masking hearts of gold populate IN A LONELY PLACE. It's a much more wrenching and powerfully disturbing film because the murder that draws the protagonists together turns out to be of peripheral importance, while the love story between Humphrey Bogart's troubled screenwriter and Gloria Grahame's B-actress spins inexorably towards damnation completely on its own power. The basic story has him a suspect in a killing and her in love with him yet unsure of his innocence, but director Nicholas Ray stages the proceedings so that WE see it's not the murder that disturbs her but her own conviction that his self-destructive and volatile nature will destroy them both. Yet, Ray never takes the easy way out of having Bogart turn monster on her. You care deeply about these people, hoping desperately (as Bogart's agent does in the film) that some transforming moment will come that will spare these people and allow their deeply felt love to flourish and heal them both, even as the evidence before your own eyes tells you there ain't no way. For 1950 -hell, for any year- such an unsentimental and uncompromising treatment of a tragic adult relationship is a terrible wonder to behold. The shadows suffusing this excellent film come not from UFA-influenced lighting but from moral and spiritual desolation, the death throes of old Hollywood, the coming of McCarthyism and the Black Dahlia murder of 1947. But most of all, they're projected from within the characters themselves. The finest work of Bogart, Grahame and Ray. Special note should be taken of Ray and Grahame, whose own deteriorating relationship formed the template for the doomed lovers; for them, this film is an act of great courage. Bogart himself has taken elements of all his previous romantic loners and blended them with the sour pigments of Fred C Dobbs; as the star and executive producer, his performance is unflinching in its honesty, and as fearless as Grahame and Ray. See this movie.


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