In a Lonely Place | Full Movie | Movies Anywhere

Name: In a Lonely Place
Released: 1950-5-17
Cast: Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith

In a Lonely Place

NR
1h 33m
1950

96%

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Academy Award® winner Humphrey Bogart (Best Actor, The African Queen, 1951) stars as Dixon Steele, a down-on-his-luck studio scribe who reluctantly agrees to adapt a trashy bestseller to the silver screen. Rather than read the book himself, Steele convinces a star-struck hatcheck girl, Mildred Atkinson, to accompany him home and tell him the story in her own words. Later that night, Mildred is found murdered and Steele, who has a history of violent behavior, becomes the prime suspect. Fortunately for him, his sexy neighbor, Laurel Gray (Gloria Grahame), who is physically attracted to the writer, lies to the police by providing Steele with an air-tight alibi. But is he truly innocent of Mildred's death or is Laurel destined to become the next victim of Steele's violent temper?

Director:

Nicholas Ray

Producer:

Robert Lord

Writer:

Andrew Solt

Cast:

Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, Jeff Donnell, Martha Stewart

Rotten Tomatoes® Score

TOMATOMETER®

96%

Critics Consensus: Led by extraordinary performances from Humphrey Bogart and Gloria Grahame, In a Lonely Place is a gripping noir of uncommon depth and maturity.

Reviews

Vague Visages

Jeremy Carr

In a Lonely Place finds Nicholas Ray still the relative newcomer to the Hollywood studio scene, yet he is already displaying subversive evidence of instilling in his work representative preoccupations.

This is film noir without guns and gangsters, with no robberies or blackmail schemes, where the only crime on screen is a couple of alcohol-fueled assault... and yet it is among the most devastating noir dramas you’ll ever see.

As in the finest exemplars of film noir, the screenplay is a fated funhouse of crisscrossing intentions: not only does Ray burrow into the subtext with his own romantic struggles, he describes how to make movies like the one we’re watching.

There is lyricism in this melodrama but it comes strictly in a pessimistic film-noir style: the movie's faith in the power of love is remarkably limited.

August 29, 2022

FULL REVIEW

Christian Science Monitor

B.R. Crisler