They Live by Night

A beautiful yet bleak movie about doomed young love on the run. The debut directorial feature of Nicholas Ray, it starts with three escaped prisoners on the run, roughing up the driver of a car they've hijacked after robbing a bank, two of them are seasoned old pros, but the third is a fresh-faced youngster imprisoned for a murder committed when he was a teenager. Although grateful for their springing him, he is resistant to their future plans to continue a life of crime. When they turn up at a safe house peopled by an old alcoholic friend and his young daughter, she makes clear her distaste for the three escapees. Tomboyish, with her hair up and dressed in overalls, she softens to the fresh-faced lad as she nurses him through an injury he's picked up on the road.

Soon they fall in love and decide to hit the road themselves, paying $20 dollars for a cut-price marriage but while they dream of carefree days ahead, in truth, they're always looking over their shoulders, fearing his discovery by the authorities, but when he's tracked down by his old cronies and forced into another bank job which goes wrong, his notoriety only increases and you just know his days are numbered.

Central to the film is the chemistry between its young stars Farley Granger and Cathy O'Donnell, as Bowie and Keechy, both completely natural in their roles. Production Code morality of the day ensures that Granger's Bowie character is duly punished for his misdemeanours but all the way you're rooting for the youngsters to somehow come through.

Starkly filmed by Ray, he ramps up the emotional tension as every time the couple find some solace and calm on their travels something happens to set them back. A last-ditch attempt to escape to Mexico only confirms Bowie's hopelessness at his and Keechy's prospects leaving just one final betrayal to seal his fate. Shot in atmospheric black and white with many imaginatively staged scenes alternating tenderness and fear, perhaps the most striking use of Ray's cameras are the helicopter shots looking down on the fleeing characters even as their journeys will take all of them nowhere.

Watching the film, I was reminded of another earlier noir classic about ill-fated young love, Fritz Lang's superb "You Only Live Once". Both are dark, driven, doomy pieces, memorable and highly recommended, just don't look for happy endings. Even the movies don't all end that way.

An early, nearly-forgotten picture from the director of "Rebel Without a Cause", this story of fugitive love (though not in the same was as "Bonnie and Clyde" or "Gun Crazy") is in its own right a rather accomplished picture.

Farley Granger is best remembered for his Hitchcock roles, and he gives a good, multifaceted performance. It's clear from the get-go that despite the company he keeps and despite his time in prison, he's really a scared, uncertain kid. Cathy O'Donnell is all but forgotten, but here gives a nearly Oscar-calibre performance, extremely convincing and appealing as his naive bride.

The film is also notable for early use of helicopter shots of cars, and for its refusal to vilify either the criminals or the cops (one of the policemen admits that "the system failed him", an astonishing statement for 1949).

All in all, a film which deserves to be resurrected from its obscurity.

Nicholas Ray's first film is a fascinating, enveloping example of a filmmaker getting as much as he can out of so little. His film was made under the radar at RKO, despite having John Houseman as a producer. While also having a cast of really unknowns, he also uses it to his advantage to tell a small story very well. It's close to being one of the more 'text-book' examples, in the story's core, in the history of B-noir (film-noir that didn't get the hype of The Big Sleep or Out of the Past, star vehicles as much as unique thrillers). Bowie (Farley Granger, soon to be a Hitchcock stock-player) escapes from jail with the help of a couple of bank robbers who make him, as they say, "an investment." He meets a girl, Keechie (Cathy O'Donnell), daughter of a farmer they pass by, and he becomes friends with her, so to speak. She agrees to leave town with him and they also decide, almost on a whim, to get married (for twenty bucks no less). But soon, very soon, fall in love, however, despite the checkered and now notorious past catching up to Bowie.

Obviously, if you're looking for stellar, "method" acting, look elsewhere in the main performances. But they do have enough of a pull in their chemistry on screen- sometimes rough and spelling of their doomed relationship, other times tragically tender- to back up the best aspects to the film. The true pleasures in seeing They Live By Night are the details that Ray lays in the scenes, bits of life probably taken from the book the movie's based on. Godard once proclaimed that Ray "IS cinema". If this statement does hold validity to a degree, it shows for certain even in Ray's debut in the scenes with the secondary platers. Such as the wedding scene, or in general with the dialog in the script (i.e. "Between him and the chicken, I'd bet on the chicken", or "I'm the black sheep" "the only thing black about you are your eyelashes), or even with the strengths in Ray's camera as a simple storyteller. In a sense this cuts right to the chase with the theme of doomed youth, years before Rebel Without a Cause yet with the given desperation of the noir films.

While generally less seen than Ray's other films (though more attributable to being less available on video), it's likely one of his best; a powerful mix of the bittersweet tale of a criminal and his love that would decades later meld with other crime-film elements into a work like True Romance.

They Live By Night (AKA: The Twisted Road) is directed by Nicholas Ray and written by Ray and Charles Schnee who adapt from Edward Anderson's novel Thieves Like Us. It stars Cathy O'Donnell, Farley Granger, Howard Da Silva & Jay C. Flippen. Produced by John Houseman out of RKO, it's photographed by George E. Diskant and music is by Leigh Harline.

Ray's debut feature (it was actually wrapped in 1947) is a potent piece of film noir set during the Great Depression. Story follows Bowie (Granger), a naive young man who escapes from prison with two hardened criminals, Chicamaw (Da Silva) & T-Dub (Flippen), and finds unexpected love in the form of the almost saintly Keechie (O'Donnell). However, he finds that no matter what his good intentions are, crime just wont leave him be and with Keechie in tow, goes on the run to hopefully find a better life.

It's a pretty simple story all told, one that has been well represented in film over the years with the likes of You Only Live Once, High Sierra & Gun Crazy. But as simple as the tale is, Ray's film is very much a leading light in the sub-genre of "lovers on the lam" movies. First thing of note is that there's a movement away from the normal characters that had frequented the noir driven crime world up till now. The protagonists here are not gangsters or private investigators, they are thieves, and country folk too. This offers up a different viewing character wise. Admittedly the protagonists are shrouded in classic film noir hopelessness, where the air of desperation hangs heavy throughout, but the characterisation shift gives the simple story a lift.

From the outset it's evident that this is an intriguing, even curious, picture. A shot of our loving couple sharing a kiss is accompanied with a title card telling us that they were never properly introduced to the world we live in. A blast of Harline's music startles them and we then cut to an aerial shot (Ray leading the way for helicopter shots) of the three escapee's in the getaway car. In those 30 seconds Ray has managed to convey that his film will be an energetic, yet doom laden, love story. Quite a feat for a fledgling director to be unique right from the off. It's interesting to note that Ray himself said that he wasn't trying to make a film noir movie, he was merely telling a tragic love story. Just another point of reference as to why the film is so fascinating.

Be that as it may, They Live By Night pulses with noir blood. From its perpetual moody atmospherics, to the romantic narrative being punctured by moments of violence, it deserves its classic film noir status. 8/10

Nicholas Ray is mostly known for his work, "Rebel WIthout a Cause", but his first work, a dazzling, moving (if sentimental) film noir, is far better. Unjustly out-of-print, "They Live By Night" may have its minor flaws, but the stark, beautiful camerawork, stolid dialogue and (perhaps above all) exquisite performances make up for it. It has none of the often phony emotions and annoying characters that are found in "Rebel Without a Cause."

Bowie, the innocent, sympathetic outlaw hero of "They Live By Night" is a wonderfully drawn. By no means is he the cliched nice-guy-in-a-bad-situation; though essentially good-hearted, he can be frighteningly callous at times. Farley Granger, working with excellent direction, he gives us glimpses of a violent yet passionate nature, struggling against the condemnation of society. Cathy O'Donnell is also entrancingly tender, yet we can vaguely see that her character is trapped in a hopeless relationship with Bowie. She is also sadly obscure, which plainly has nothing to do with her talent.

The one significant fault of this film is over-restraint. At times, Ray's understated direction can be extremely effective, such as when he is dealing with violence. But at other times the characters' (and especially Keechie's) emotions are so tightly controlled that some of the impact on the audience is lost. Still, despite a few faults, "They Live By Night" is a wonderful film, and if ever you can find it, sell your hair but GET IT!!!