On Dangerous Ground (Warner Archive, Blu-ray) (1952), directed by Nicholas Ray from a script he developed with A.I. Bezzerides and producer John Houseman, opens on the urgent yet fractured dramatic score by Bernard Herrmann, a theme that rushes forward anxiously, pauses with quieter instruments, then jumps again as we watch the nocturnal city streets in the rain through the windshield of a moving car. This is the view of the city as seen by Jim Wilson (Robert Ryan), as an obsessive, tightly-wound police detective who works the night shift on the urban streets of an unnamed city filled with grifters, hookers, and petty crooks. He’s as dedicated as they come—he studies mug shots over his meal before the start of shift—but he has no family, no girl, no hobbies, as a quick survey of his Spartan apartment shows, and his single-minded focus on the job has twisted the compassion out of him. When his anger boils over into violence once too often, he’s sent out of town to help with a murder case in the rural countryside.
If Barbara Stanwyck was the Queen Bee of film noir (as she was dubbed in an iconic issue of Film Comment), Ida Lupino was its tough cookie, a beauty with brass and a dame who knew the score. She was a romantic heroine who could hold her own against the brawny heroes and rough villains of Warner Bros. crime movies without losing her sexiness or her independence. And she was arguably at her best when directed by Raoul Walsh, who made her a mad femme fatale in They Drive By Night (1940) before bringing out her potential as a scuffed survivor with a true heart in High Sierra (1941), their third film together and her first real signature performance as the modern Lupino. They reunited for their fourth and final collaboration in 1947 with a a refreshingly mature film rich with stories of frustrated lives, unrequited loves and tough times just getting by in the world without selling your soul.
It may be stretching definitions to call The Man I Love a true film noir—it’s not a crime film per se, though it is far more than a typical melodrama, thanks in large part to the strong, tough direction of Raoul Walsh, and for all the nocturnal lives it lacks the shadowy style that informs the genre. Yet this 1947 film, set in the post-war era of swank nightclubs and the seedy types they attract, is seeped in the post-war sensibility and it gives Lupino the confidence and control and narrative command usually reserved for men. Lupino’s calloused heroine is a New York chanteuse who goes home to Los Angeles to see her family: a married sister with a child and a soldier husband in the hospital for shellshock, a sweet younger sister infatuated with the married man next door and a cocky brother who sees his future as a hired thug for sleazy nightclub lothario Robert Alda. Lupino knows her way around the octopus hands of night club operators and puts herself between Alda and her family to save their innocence from the urban corruption that threatens to seep into their lives.