Spotlight

Spotlight Date: 8-January-06
Spoiler Rating: Medium

In a Lonely Place (1950)

Lucky was the occasion (now forgotten) that led me to put "In a Lonely Place" in my Netflix queue. This gem has all the hallmarks of a classic, like great stars, an intriguing setting, and a thoughtful blend of drama, romance, and suspense. The film satisfies from its curious beginning to its dolorous end, but what I liked most about it is its focus on character. Directed by Nicholas Ray from a script by Andrew Solt, "In a Lonely Place" boasts a number of players whose personalities and circumstances seem entirely real. First and foremost is Dixon Steele (Humphrey Bogart), a noted screenwriter who values artistry over image and thereby proclaims himself a Hollywood anomaly. Dix's strengths and weaknesses are revealed when he falls for an aspiring actress named Laurel Gray (Gloria Grahame), who moves into his apartment complex after fleeing a failed engagement. All of Dix's pals are delighted when this no-nonsense beauty becomes his muse and helpmeet, from his agent (Art Smith), to his drunken actor crony (Robert Warwick), to a war buddy who's now a police detective (Frank Lovejoy). However, the female side of the mix, including the detective's wife (Jeff Donnell), isn't so sure Laurel has found a good thing.

The uncertainty surrounding the lovers springs from Dix's volatile temper, which has led to brawls in the past and has recently placed him at the center of a murder investigation. The "Whodunit?" question advances the plot while imbuing the protagonist with conflict and complexity. (Boy, does Bogart rise to the challenge.) There is absolutely no question that Dix loves Laurel and vice versa, but finding his soulmate does not exorcise his demons or render him above suspicion. Because the characters are so natural, "In a Lonely Place" produces a sympathetic anxiety which makes the viewer feel like part of the little community it depicts. Moving beyond the glamor of Hollywood, it shows the familiar strivings of everyday people; moving beyond the surface of their interactions, it uncovers a worm at the core. The story boils down to the dynamics of human relations, to which faults and transgressions our attachments can bear and which they can't. This (along with the title) suggests the universal question of whether everybody deserves to be loved, and the film is piquant food for thought for anyone who would ponder the answer.

Copyright © 2006 The Jujube (M. I. Kim). All rights reserved.