In A Lonely Place
First, there’s the title. Has any movie title ever sounded so vulnerable? And that the film about a man "in a lonely place" was played by America’s hero, Humphrey Bogart, added undeniable pathos to the proceedings. Movie stars have always been confused with who they played in the films that made them famous, and after High Sierra and Casablanca Bogart would be forever known as the world weary tough guy with a heart of gold; the cynical romantic who does the right thing in the end who generations of men have wanted to emulate. Playing an emotionally wounded misanthrope with possibly psychotic tendencies was a risk for him, but in the words of Louise Brooks it was the closest performance to the real Bogart that he ever played. In her memoir of sorts, Lulu In Hollywood, she writes about how the Bogart she knew was an insecure actor forever on the sidelines of productions he didn’t star in. When the light and magic clicked to make him a star in High Sierra he became a legend henceforth and he took to acting the part in real life. But, according to her at least, it wasn’t until playing the embittered Hollywood screenwriter Dix Steele in Nicholas Ray’s In A Lonely Place that the myth and the actor coalesced into something resembling his darker, more emotionally insecure self.
In A Lonely Place is ostensibly a murder mystery, but what haunts isn’t really the murder or even the possibility that Bogart’s character killed someone. Instead it’s the way Dix’s good qualities are forever doomed to be overshadowed by his alienating and self-destructing tendencies. He has good friends around him who, even in the face of a murder investigation where he is a suspect, refuse to give up on him. But his insecurities and "artistic temperament" wear those around him down to the point where he really is totally alone. There’s no real lesson to In A Lonely Place. In another less complicated thriller Dix would be the villain whose downfall signals the triumph of societal values over the chaos caused by anti-social malcontents. But this is a film with no solution to the problem of Dix Steele, just a melancholic depiction of a certain type of man whose great curse is to be eternally misunderstood.Continue Reading
The Maltese Falcon
Like John Ford & John Wayne or Scorsese & De Niro, John Huston & Humphrey Bogart's work together as director and star will be forever linked in audiences' subconscious. After years of being a happening screenwriter, Huston got his chance to direct his own adaptation of Dashiell Hammett's crime novel, The Maltese Falcon. The film would help make Bogart a leading man, would lead to a 50-year career for Huston, and set the standard for detective films to come.
Like many detective and crime films of the 1940s, The Maltese Falcon is often improperly lumped in with the Film Noir genre. At best, The Maltese Falcon could be deemed a kick-starter to the genre that actually peaked in the post-WWII years. With the exception of a femme fatale or a detective it has little in common stylistically with the best of Film Noir (The Postman Always Rings Twice, Out Of The Past, etc.). That's not to say that the film (and the book) were not hugely influential, they were.Continue Reading
They Live By Night
There’s a scene in the ﬁrst act of Nicholas Ray’s They Live By Night in which Keechie (Cathy O’Donnell) and Bowie (Farley Granger), young lovers on the run from the law, ditch a Greyhound bus out of town when they see a sign advertising fast weddings. It’s at one of those cheap, 24-hour chapels: $20 for the wedding, plus $1 to rent the ring or $5 to buy. Bowie, his pockets full of cash from his last bank robbery, says he wants to buy it. Despite being completely on a whim, this union is meant to last forever. Yet as they speak their anxious vows, it is clear that their love is doomed from the start.
Released in 1948, They Live By Night would provide the template for such ﬁlms as Bonnie and Clyde, Badlands, Drugstore Cowboy, and Natural Born Killers, in which violent crime enters almost abruptly into the lives of damaged souls. Yet unlike those ﬁlms, They Live By Night focuses its attentions almost solely on the love affair, with very little sensationalism. Although there are bank robberies and shootouts, they are mostly hinted at, and oftentimes, occur completely off-screen. It’s as if Ray is telling his audience that the crimes themselves are not as important as their aftermath.Continue Reading
What can I say? I’m a sucker for court room, investigative drama; no matter how pedestrian. The ace-up-the-sleeve for True Believer is the dynamic performance by James Woods. Working at the peak of his acting powers, Woods plays a once celebrated, radical lawyer, now burned out and living on defending drug dealers. Woods, a wiry and intense actor, had spent years specializing in unhinged types, before he really came to the public's attention in the late '70s with his work (opposite Meryl Streep) in the TV miniseries Holocaust, and his searing performance as a petty criminal in The Onion Field. He spent most of the '80s in potentially important films that didn’t break him out (Once Upon a Time in America, Against All Odds), fascinating misses (Videodrome, The Boost), with some little seen gems mixed in (Fast-Walking, Split Image). In ’86 he finally broke through, winning every major TV award for the small-screen movie Promise and getting his first Oscar nomination for his powerhouse work in Oliver Stone’s Salvador. True Believer fell in the post-award buzz period, when he was scoring those big-star leading-man roles. Here he fully delivers on the promise.
Though wrapped up in a mystery, True Believer actually works better as one of those what-ever-happened-to-our-heroes-from-the-'60s? movies (The Big Chill, Running on Empty, etc.). The true believer in question here is Edward Dodd (Woods), a sorta William Kunstler like lawyer who once fought for civil liberties, civil rights and other groovy ideals, but now, even though he still has his long hair and openly smokes pot, prefers to defend whoever has the bread to pay him (usually real criminals). An idolizing, young law school graduate, Roger Baron (Robert Downey Jr, a couple years before his performance in Chaplin made him a major actor) volunteers to be his clerk, hoping to experience some of that '60s magic. He pushes Dodd to become better, until the older lawyer slowly comes to realize he has been cheating himself and his own ideals. Oh, and also there's some kind of loser case that Baron convinces him to take; something about a Korean-American kid wrongly convicted of murder that leads to the uncovering of all kinds of legal system corruption, as well as some suspense and some lawyerly heroics.Continue Reading