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Wednesday, Oct 14
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Format: Blu-ray May 10, 2016
Description
When a gifted but washed-up screenwriter with a hair-trigger temper Humphrey Bogart (Casablanca), in a revelatory, vulnerable performance becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (The Big Heat s Gloria Grahame) with her own troubled past. The emotionally charged In a Lonely Place, freely adapted from a Dorothy B. Hughes thriller, is a brilliant, turbulent mix of suspenseful noir and devastating melodrama, fueled by powerhouse performances. An uncompromising tale of two people desperate to love yet struggling with their demons and each other, this is one of the greatest films of the 1950s, and a benchmark in the career of the classic Hollywood auteur Nicholas Ray (Rebel Without a Cause). BLU-RAY SPECIAL EDITION FEATURES - New 2K digital restoration, with uncompressed monaural soundtrack - New audio commentary featuring film scholar Dana Polan - I m a Stranger Here Myself, a 1975 documentary about director Nicholas Ray, slightly condensed for this release - New interview with biographer Vincent Curcio about actor Gloria Grahame - Piece from 2002 featuring filmmaker Curtis Hanson - Radio adaptation from 1948 of the original Dorothy B. Hughes novel, broadcast on the program Suspense - Trailer - PLUS: An essay by critic Imogen Sara Smith
Genre: Mystery & Suspense, Mystery & Suspense/Film Noir
Format: Widescreen
Contributor: Frank Lovejoy, Gloria Grahame, Humphrey Bogart, Nicholas Ray
Language: English
Runtime: 1 hour and 33 minutes
MPAA rating : NR (Not Rated)
Product Dimensions : 0.7 x 7.5 x 5.4 inches; 3.2 ounces
Item model number : 2619
Director : Nicholas Ray
Media Format : Widescreen
Run time : 1 hour and 33 minutes
Release date : May 10, 2016
Actors : Frank Lovejoy, Gloria Grahame, Humphrey Bogart
Subtitles: English
Studio : Criterion Collection
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Top Amazon Reviews
A very dark and dangerous movie about a man who lives on the edge of darkness. One minute a friendly person, the next savage and destructive. I was on the edge of my seat the entire movie, sucked into the story and performances. Very gut-wrenching. Humphrey Bogart was terrific.
Reviewed in the United States on July 16, 2026 by Richard Clouser
In a Lonely Place features one of Humphrey Bogart's greatest performances in a film that few people know. Critics have always thought well of it and it was moderately popular in its day (1950) but it was not a true hit. It's a film fans of Bogart, Gloria Grahame or film noir should see and hopefully it's availability in a streaming format will increase its viewership. It's a difficult film to pin down. It falls within the general noir universe but lacks many conventions of the noir film. It is not set in a world of crime although it includes a murder. It takes place in the world of Hollywood writers, agents and would-be actors who though not major figures, live in nice places and lead ordinary lives. None of the major players are really evil, not even Gloria Grahame's Laurel Gray who one assumes will be a femme fatale before the picture starts. There's not much in the way of action and no guns at all. And most of all, though the film includes a whodunit aspect, the real focus is on the relationship between screenwriter Dixon Steele (Bogart) and Laurel Gray (Grahame). Nicholas Ray (They Live By Night; Rebel Without a Cause) directed the film, giving it his characteristic intensity and inspiring all the actors to fine performances. Bogart's Dixon Steele is one of the most complex and difficult performances he ever did. Within the first two minutes of the film he comes off as unlikable and possessing a serious violent streak that haunts him throughout. This is much darker and more difficult for an audience to accept than the cynicism of Sam Spade, Philip Marlowe or Rick Blaine. He's played worse characters before, especially in his gangster film days and memorably as Captain Queeg in the Caine Mutiny, but those were one dimensional characters and you were supposed to hate them. Here he has to balance the characters troubled psyche in a way that makes him redeemable and possessing a really nice, even charming side, and this he does so well that you never know just how the film will turn out. Nevertheless I think that's what made the film less popular than Bogart's other films: people liked him as a tough guy but not as a possible psychotic. I think the film really disturbed many people. The rest of the cast is also excellent. Most people now know Grahame as the town flirt from It's a Wonderful Life and as Ado Annie in Oklahoma! but this is probably her best role. She's in love with Dixon but frightened of him and plays it in a totally believable and sympathetic way. Nicholas Ray went out on a limb casting her because she was his wife but their marriage, unknown to anyone at the time, was on the rocks and about to end in a divorce. They agreed to be professional and not let personal issues cloud the film and it worked. The rest of the cast, not generally well known, is doing their best as well. Frank Lovejoy and Jeff Donnell are particularly good as Dixon's old army buddy and now police detective and his wife. Old silent film star Robert Warwick plays an over the hill alcoholic actor who adds the film's only overt humor. Oddest of all is Ruth Gillette as Martha, Laurel's masseuse. She seemed really sinister, like she had some kind of control over Laurel and seemed scarier than Bogart. There just seemed to be something going on there and I don't know if it was written that way or if she just overplayed it. It's a tiny role, but memorable. Ahead of its time in 1950, this is a film not to be missed.
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Reviewed in the United States on October 5, 2017 by johnf
Filmed in 1950, this film is brilliantly directed by Nicholas Ray. Its production company, Santana Productions, was Bogart's own (Santana was the name of his yawl), which he started in 1948 and sold to Columbia Pictures in 1954, the problem being that his company simply couldn't outbid the large studios for properties he wanted, i.e., Dead End and The Detective Story (some of Santana's films included Knock on Any Door, Tokyo Joe and Sirocco, which Bogart himself called "a stinker"). Eric Lax, the definitive biographer of Humphrey Bogart, believes that he was drawn to this role because he could so closely identify with the character's inner turmoil, problems with women, and a rocky relationship with the ups and downs of the film industry itself. The character he plays is also a heavy drinker. Perhaps because of the similarities, and because Bogart was so greatly talented, his performance in this film leaves one in awe. It is wide and deep, cruel and unbelievably tender, and very, very moving. Gloria Grahame gives unquestionably the best performance of her career. The role was to go to Lauren Bacall, but Warner Brothers refused to lend her to Santana Productions for the film. Though I admire Bacall's early work, I am glad we got Grahame with her flower-like fragility. It is a murder mystery, but more it is an in-depth character study and even a life study. Dix (Bogart's character) is full of rage which he has for years refused to confront. Laurel (Grahame's character) is lost. Both her film career and her search for a meaningful love are illusive at best. They genuinely fall deeply in love. Was she not strong enough? Was he not brave enough? We see what could have been, and are left with what will never be. My great compliments to Art Smith, whom I consider to be the greatest character actor of his time (he played the psychiatrist in Mr. Peabody and the Mermaid, one of William Powell's later films). The scene in which he is violated is a great moment in film. Hats off to a deeply moving film, brutally honest and perfectly executed, each performance being a gem of its own.
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Reviewed in the United States on June 19, 2002 by Elaine Campbell
"In A Lonely Place" was released the same year as "Sunset Boulevard" and "All About Eve." All three movies pull the curtain away from show-biz gloss and shows the seedy deceit behind all the make-believe. Of the three "IALP" is probably least well known. In 1950 it received critical acclaim but small box office. I wonder if one reason for that is that, even though moviegoers had been toughened by World War II, they might not have ready for Humphrey Bogart's deviation from the persona he had refined in pictures like "Casablanca" (1942) and "The Big Sleep" (1946). Nobody forced Bogart into this film: he bought the rights to the novel on which it was based and his company, Santana, produced it. Many consider this Bogart's finest film performance. I'm unsure about that. Like Cary Grant, Bogart became so identified with a particular image that it's hard for us to remember that these professionals worked hard to make their work look easy. We simply bought into the illusion that Bogart "was" Sam Spade or Phillip Marlowe (or whoever), while, in "IALP," his character retains some their wise-ass toughness but moves into something different and deeper. Bogart must have reached deep into his guts to pull out Dixon Steele, the protagonist in "IALP," and took a big risk by doing so. It's a frightening performance of a man who, for all his superficial gristle, has been traumatized—we never learn why—and can release it only though violence. Steele also realizes that he has talent, that he's sold out to a world that he despises, and despises himself for it. Both Ginger Rogers and Lauren Bacall were front-runners for the female lead; both were unavailable. That's a good thing, because Gloria Grahame is perfect in the role of Laurel, a failed starlet with a hard veneer that cracks quickly. Rogers and Bacall were both terrific actors, but onscreen both "read" as too strong, too intelligent, for this particular part. By all accounts Grahame in real life was not at all weak or fumbling, but so accomplished was she as an actor that she makes one believe that her character was. (A certain tension was surely generated by the fact that, during filming, her marriage to Nicholas Ray—the director—was disintegrating.) Unlike "Boulevard" or "Eve," "IALP"'s leads are not as well supported by the rest of the cast, and George Antheil's wall-to-wall musical score, even for 1950, is too melodramatic for my taste. But cinematographer Burnett Guffey's lighting is spot-on (sometimes literally so): noirish enough for the subject matter but restrained from the genre's flamboyance. Criterion's excellent restoration of the movie reveals just how fake the studio process plates look, but, on location in and around Los Angeles, Nicholas Ray's eye for scenic detail is right on the money. Criterion never fails to deliver bang for your buck with special features. Especially noteworthy here are the optional voiceover commentary on the film by Dana Polan, author of the BFI Film Classics volume on the film; a seventeen-minute feature on Ms. Grahame narrated by Vincent Curcio, author of a solid biography of the actor ("Suicide Blonde," 2018), and a fascinating documentary on director Ray, "I'm A Stranger Here Myself," made in the mid-1970s and featuring interviews with one of his mentors, John Houseman (aka Professor Kingsfield of "The Paper Chase"), François Truffaut, and Natalie Wood, whom Ray directed in "Rebel Without A Cause" (1955). One gets to watch Ray at work with a group of college thespians—and, boy, does he work them, and himself, hard to capture the moments he wants to film. "In A Lonely Place" may not be "a great film," but it is unquestionably a superb movie: wound tight as watch-spring, with Grahame's finest and Bogart's bravest performances, and an ending that is truthful and devastating.
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Reviewed in the United States on May 22, 2020 by C. C. Black
"In a Lonely Place" begins with a soundtrack that fuels a sense of urgency that cannot be forgotten once heard, and its conflicted protagonist and his sense of failure, solid framework, masterful touch, and lean details make it a must-see for fans, worthy of being called the definitive film noir film. Dixon Steels (Humphrey Bogart), a past screenwriter, takes home a young woman he met at a bar late at night, calling it a book reading. However, perhaps because of the age difference between him and the young woman, he gets a headache and sends her away, giving her a suitable excuse. The next day, Steels is awakened early in the morning by a detective he knows and learns that the young woman from last night has been murdered and that he is the suspect, and so begins the story of a common detective mystery, but for some reason the police assume him to be the killer without any evidence from the beginning. He also has a neurotic streak, and when he is attacked by others, he becomes paranoid and violent. On the other hand, he is now an unsuccessful screenwriter, but at the end of the story, we are told that he was once a great screenwriter, as his new work is shown to be well received. Generally speaking, "At the time, the United States was in the midst of the McCarthyist Red Purge, and the House Un-American Activities Committee (HUAC), the principal organ of the Red Purge, issued subpoenas solely on the basis of suspicion and interrogated 10 people who refused to testify or be subpoenaed based on their fundamental rights guaranteed under the First Amendment to the U.S. Constitution. The HUAC interrogated ten people who had been The ten, known as the Hollywood Ten, were convicted of contempt of Congress in 1948, appealed to the Supreme Court but lost, and were sentenced to six months to a year in prison in 1950." It is said that. The year 1950, when "In a Lonely Place" was released, was the very year that the Hollywood Ten were sentenced. Why did Nicholas Ray choose a screenwriter as his protagonist? Why did the police unilaterally frame Dixon Steele (Humphrey Bogart), once a successful screenwriter, as the killer simply because he was suspicious and without adequate investigation? The answer they suggest is one. They are Nicholas Ray's scathing critique of the red-hunt whirlwind. Of course, that is not all. Director Ray seems to be self-deprecatingly mocking the "irredeemable Hollywood" by depicting, albeit implicitly, the folly of those who are bound by past glories. Humphrey Bogart meets and is reborn with a new muse, Gloria Graheim, and despite writing a new script at a furious pace, ultimately loses her through his own paranoia. This teaches us that no matter how fortunate we may be, a new destiny will not begin unless we are determined to transform ourselves to become a new person. Perhaps Director Ray wanted Hollywood to have the same determination.
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Reviewed in the United States on July 21, 2023 by Still Egg
I was expecting the storyline to stay true to the book, which was excellent, so I was disappointed.
Reviewed in the United States on March 20, 2026 by Kindle Customer
I am surprised I had not seen this movie before and that not many people know about it, even those who are great fans of Bogart. This film is absolutely fantastic. The acting by Bogart, Gloria Graham, and the supporting cast is divine. The director, Nicholas Ray (also directed Rebel without a Cause), was one of the very best, and this movie shows it. This is not your typical Humphrey Bogart’s movie. It shows Bogie in a totally different light, and in fact some people (look up Louise Brooks’ review of him) regard the character in this movie to more closely resemble the real Bogart. I hope you enjoy this film as much as I did. It opens your eyes to the realities of life and to issues that we continue to face today.
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Reviewed in the United States on October 1, 2024 by truthbetold
Amazon has the unfortunate habit of lumping all reviews for a film together, regardless of date of issue or format (VHS, DVD or Blu-Ray). This is especially unfortunate when the newest version is a dramatic improvement over the old versions. This is the case with "In a Lonely Place" 2016 CRITERION BLU-RAY BONUS FEATURES: -- New 2K digital restoration, with uncompressed monaural soundtrack on Blu-Ray. -- New audio commentary featuring film scholar Dana Polan -- "In a Lonely Place Revisited" with filmmaker Curtis Hanson (20 minutes, imported from the 2002 Sony DVD) -- "I'm a Stranger Here Myself" - 1975 documentary about director Nicholas Ray. -- New interview with biographer Vincent Curcio about actress Gloria Grahame -- Essay by critic Imogen Sara Smith -- Radio adaptation of the original Dorothy B. Hughes novel, broadcast on "Suspense" (1948) -- Movie trailer. -- SDH subtitles. 2002 SONY DVD BONUS FEATURES: -- "In a Lonely Place Revisited" with filmmaker Curtis Hanson (20 minutes) - also on the new Crfiterion Blu-Ray. -- "In a Lonely Place Restoration Story" (5 minutes) - technical details (now obsolete) about film restoration. -- "The Bogart Collection" (5 minutes) - movie posters from Bogart's post-Warner career, 1949-1956. -- Movie trailer. -- SDH subtitles. Humphrey Bogart made 53 films as a contract player for Warner Brothers between 1932 ("Three on a Match") and 1948 ("Key Largo"). In 1949, he left Warner to become an independent producer, starring in 17 films between 1949 and 1956. Bogart's production company had two big Technicolor successes: "The African Queen" (1951 - Bogart's only Oscar) and "The Caine Mutiny" (1954), but film scholars have always had a soft spot for the more modest black and white psychological thriller "In a Lonely Place" (1950). The 2002 Sony DVD had an excellent picture, but fourteen years on, Blu-Ray technology offers increased resolution. Criterion has a well-deserved reputation for quality and scholarship. The new Blu-Ray includes a commentary track, plus biographical features about co-star Gloria Grahame and director Nicholas Ray. HUMPHREY BOGART FILMS, 1949-1956 7 of 17 titles have been released on Blu-Ray: 1949: Knock on Any Door 1949: Tokyo Joe 1950: Chain Lightning 1950: In a Lonely Place - Blu-Ray reviewed on this page 1951: The Enforcer = The Enforcer [Blu-ray] (Olive Films) 1951: Sirocco 1951: The African Queen = African Queen, The [Blu-ray] (Warner Blu-Ray) 1952: Deadline: U.S.A. = Deadline U.S.A. (1952) [Blu-ray] 1953: Battle Circus 1953: Beat the Devil = Beat the Devil (The Film Detective Restored Version) [Blu-ray] 1954: The Caine Mutiny = The Caine Mutiny [Blu-ray] (Sony Blu-Ray) 1954: Sabrina = Sabrina (1954) (BD) [Blu-ray] (Paramount Blu-Ray) 1954: The Barefoot Contessa 1955: We're No Angels 1955: The Left Hand of God 1955: The Desperate Hours 1956: The Harder They Fall HUMPHREY BOGART FILMS, 1936-1948 I have also prepared a list of Humphrey Bogart's Warner Brother's films (1936-1948) that are available on Blu-Ray (nine to date). See the first comment (dated March 1, 2016) following this review.
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Reviewed in the United States on March 1, 2016 by John Fowler