In a Lonely Place (Criterion, Blu-ray, DVD) hasn’t much to do with the Dorothy B. Hughes novel on which it was ostensibly based, beyond the title (one of the most evocative in noir history), the Los Angeles setting, and the murder of a young woman that puts our ostensible hero, volatile, hard-drinking Hollywood screenwriter Dixon Steele (Humphrey Bogart), in the crosshairs of the police. The victim, a bubbly, not-too-bright hat check girl, had been to Dixon’s apartment to recount the story of a romantic potboiler bestseller he’s too jaded to read himself. When he’s hauled in for questioning, he’s unfazed and sardonic, treating the whole thing like a murder mystery plot to be dissected. The oddly-named Detective Sergeant Brub Nicolai (Frank Lovejoy) tells his boss that Dix has been like that ever since they met in the war, where his hard, cynical attitude kept the unit alive, but the Captain isn’t convinced. Even when he’s alibied by his lovely new neighbor Laurel (Gloria Grahame), a one-time Hollywood starlet running from a failed romance with the poise of a queen of society. She likes his face. He likes her style. I like their flirtation: smart, knowing banter, seductive smiles, a push-and-pull as Laurel decides whether she’s ready to jump into another relationship. Despite that poise, she’s a little skittish about commitment.
Ride the Pink Horse (Criterion, Blu-ray, DVD) – It wouldn’t be fair to call this film unknown—ask any die-hard film noir fan—but outside of classic movie buffs and noir aficionados, Ride the Pink Horse (1947) simply isn’t a familiar title. The film’s debut on DVD and Blu-ray should help change things, and the Criterion imprint certainly doesn’t hurt.
Based on the novel by Dorothy B. Hughes, whose work also inspired In A Lonely Place, and directed by Robert Montgomery, this is rural noir, set in a fictional New Mexico border town created almost entirely on studio sets (with a few location shots in Santa Fe). Montgomery also stars as “Lucky” Gagin, a big-city thug who tracks a crime boss (Fred Clark) to San Pablo for a shakedown on the eve of its fiesta season. The shift from the city at night to a dusty southwestern town, where Spanish fills the streets and cantinas outside of the tourist hotel, gives this film a striking atmosphere and texture, but the themes come right out of the post-war dramas and crime movies. Montgomery is a working class thug who came home from the war disillusioned and angry and Clark, his blackmail target, is a war profiteer who hides behind the façade of big business and looks more like a middle-management functionary than a criminal tough guy. One of the oddest touches in film involves his hearing aid, which turns familiar phone call scenes upside down. (You might recalls Clark as the producer who dismisses William Holden’s baseball script in Sunset Blvd and as dyspeptic comic relief in scores of films and TV shows.) Ride the Pink Horse anticipates the connection between organized crime and corporate America that became even more prevalent in the 1950.