Very well executed

Don't listen to the negative reviews

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Story: It's very simple but honestly that is fine.

The first half was about whether Bogart was accused of murdering the waitress he took home to his house that night. Then we don't get an answer as to who committed the murder and the second half is this love interest between him and this other girl that doesn't go anywhere either. I'm confused.

The opening scene and music, they are suggestive of a mystery/ thriller. Humphrey Bogart driving in the city at night, is a fitting way to open the viewers to the film. Immediately, we find out Bogart's character; is a screen writer by the name of Dixon Steele. This is a good name for a Humphrey Bogart character. Steele's first stop, is a diner called Paul's. Here we find out that Dixon Steele is a hard- boiled aging man, with an explosive temperament. The first woman encountered by Bogart, a novelist the name of Mildred. as with other roles, Humphrey Bogart is consistent in his acting. he seems familiar in character to many of his other roles. I believe, Bogart puts a lot of himself into his acting. The novelist, after leaving Dixon Steele's residence; is found murdered, and the police focus on Bogart's character as the prime suspect. Gloria Grahme's character, Miss gray; makes her first appearance at the police station, while Dixon Steele is being questioned by detectives. This leads to a romantic interest between Steele and Gray, and the movie moves forward from there. The actors- Humphrey Bogart, and the rest of the assigned talent for the film; they all play well off of Gloria Grahme's acting talent. The ending is unexpected. This film introduces a great gathering of talent, a great story. In a Lonely Place, is a great movie. I would recommend this movie to all fans of classical film.

IN A LONELY PLACE is a film in which the action takes place in two apartments and a picturesque courtyard. The paradox in the title of the film is excellent. Souls are lonely. Incapable of changing and incapable of love. The mystery surrounding the murder of a young girl is a certain kind of trial for the main protagonists.Angry and aggressive writer who lives at the expense of success in the past and lawfully but very clever actress connects a murder mystery. Both of them are in some way involved and carry a certain burden. They fall in love and problems arise when the burden should be divided. I think they are both burned in their own idealism. The story can be viewed as a mystery, and the main male character as an enigma. Although, I can easily say that this is a character who has a problem with a lack of understanding and control of emotions. This is certainly not a heartbreaking love story but a classic noir attitude of a man with a dark place in his soul and a woman who at all costs trying to heal him. The main male character becomes a victim of its nature, the main female character are the victim of his self-esteem.Humphrey Bogart as Dixon Steele just plays well sensitive characters. At this point I would like that fact attributed experience. Characters that are not true heroes, with the specific style and tone. They are appealing and interesting, but often persecuted and sinful. Sometimes guided by greed and lust.Gloria Grahame as Laurel Gray is a change in man. A woman who can change the human temperament. Her self-esteem and fear they create an alarm that was waking up from a fairy tale in the real world close to a nightmare.This film is born and dies in a few weeks of love.

A Humphrey Bogart headlined suspense drama, directed by Nicholas Ray, his fourth feature, also co-starring Ray's then wife Gloria Grahame, IN A LONELY PLACE has enjoyed a steady augmentation of accolades through the years, Bogart's performance is praised as one of his finest, as Dixon Steele, a Hollywood screenwriter with a propensity for violence, who becomes a major suspect of the murder of Mildred Atkinson (Stewart), a hat-check girl whom he had brought home to read him the story of a book, which he has been required to adapt.A key witness is Dixon's new neighbour, Laurel Gray (Grahame), a young lady just gets out of an unfruitful relationship, who attests that Mildred left Dixon's place alone and unharmed. A mutual attraction burgeons rapidly between Laurel and Dixon, and Mel Lippman (Smith), Dixon's long-time agent, gladly finds Dixon is back on track in his works while nurtured by the new romance. But still, the murderer is at large, and Dixon's history of violence starts to take a heavy toll on Laurel, upset by Dixon's escalating outrageous behaviours to either strangers or those who are around him, Laurel begins to question his innocence and develops a deep fear for him, she decides to run away, but, will Dixon let her off the hook so easily and a more crucial question, who is the heartless killer?With the foreground of a plot about murder and the introduction of Laurel as an alluring pseudo- femme fatale, viewers might expect that the picture would be a taut whodunit or a scheming film- noir, however, the film actually dodges them both, Dixon has no motive to conduct the crime at the first place, although Captain Lochner (Reid) once hectors Laurel that the act might be executed by a psychopath, but it transpires that there is rationale behind the homicide in the end of the day. Instead, the remarkable thing Ray and his writers have done is to emphasis on the commoner but far more profound groundings, the two incongruous characteristics between man and woman, i.e. the latter is greatly threatened by man's inbred inclination towards physical violence whereas the former is forever frustrated and infuriated towards the latter's capricious paranoia (quite a dichotomous conclusion might not apply to today's climate of gender politics, but 65 years ago, it is as incisive as any filmmaker can get). So the unsolved murder case becomes a perfect hotbed for the ill-fated lovers to lash themselves into distrust, doubt, fear and anger, until the climax, a belated telephone ingeniously draws to a poignant close.The film is a small-scale production with a lucid narrative, but it is enormously engaging (both Bogart and Grahame are marvellous here), a telling proof that movies can be done in a very economic budget, as long as its story is brilliant enough. However, as the narrative goes on, audience is gradually predisposed to side with Laurel, since the method to externalise Dixon's innate defect is way too progressive, and it becomes rather tough to sympathise with Dixon although Bogart leavens him with astonishing pathos, how can you expect any sensible woman to indulge such a trigger-happy brute, eventually, we feel glad that the story ends that way, but that's not what we suppose to feel, in a perfect world, we should be sorry for both of them.