Intriguing Noir with a Sultry Performance by Ida Lupino

20th Century Fox Studios - 10201 Pico Blvd., Century City, Los Angeles, California, USA

Richard Widmark, Barbara Lawrence, and Mark Stevens in The Street with No Name (1948)

Raymond Burr, Dick Powell, and Lizabeth Scott in Pitfall (1948)

Nina Foch, Evelyn Keyes, and Dick Powell in Johnny O'Clock (1947)

Lucille Ball and Mark Stevens in The Dark Corner (1946)

Dana Andrews, Linda Darnell, and Alice Faye in Fallen Angel (1945)

Brian Donlevy, Howard Duff, and Peggy Dow in Shakedown (1950)

James Mason and Joan Bennett in The Reckless Moment (1949)

Rhonda Fleming and Dick Powell in Cry Danger (1951)

Gene Tierney and Dana Andrews in Where the Sidewalk Ends (1950)

Richard Widmark, Celeste Holm, Ida Lupino, and Cornel Wilde in Road House (1948)

Hey, Susie! What do you think of this one? She's somethin', isn't she?

One for My Baby (And One More for the Road)

George Beranger and Robert Karnes in Road House (1948)

Richard Widmark and Ida Lupino in Road House (1948)

Richard Widmark, Ida Lupino, and Cornel Wilde in Road House (1948)

Ida Lupino

Cornel Wilde

Celeste Holm

Edward Chodorov

Margaret Gruen

Oscar Saul

A night club owner becomes infatuated with a torch singer and frames his best friend/manager for embezzlement when the chanteuse falls in love with him.

Jean Negulesco

Road House

Ida&apos;s free and easy swim in sultry noir

This is made with enough memorable pieces - the &apos;road house&apos; in the small Midwest town, the torch singer fresh from Chicago who comes to upset the sleepy routine, the two men, owner and manager of the joint, who lust after her - that it would have been something to see regardless of who was in it.

Someone like Gene Tierney or Rita Hayworth would have been equal parts fierce and coquettish in navigating their private wants against the male desire that threatens to create a narrative that engulfs them. That would have been fine and the film worth watching.

But we got Ida Lupino instead, that whirlwind of softly indomitable spirit. I had heard enough about her in my various travels through film, always in context of trailblazing individualism, and have even seen her in a couple of films before. But for whatever reason, this was the first time I was so profoundly captivated by her talent that from now on, she&apos;s forever celebrated in my house.

Going by what she achieves here, she should be rightfully mentioned on par with Cagney, that other whirlwind of intelligent presence. It&apos;s an ability to float past obvious limits of a narrative, and from there inhabit a self who can freely enter the story, play and improvise on that edge, that makes her unerringly modern. In this case she gives us the soulful ingenue, the one required by the story, but at her choosing, and the next morning freely becomes someone who just wants to look around and explore.

Just look how her ability to shift what she inhabits in an easy and free manner makes the whole context of a scene shift. The scene with going up to the pond for a swim is written for her character to impress Wilde&apos;s as not just a stuck-up singer from Chicago. But the way she plays it turns it into she&apos;s there for a swim and shucks if he&apos;s impressed. Maybe she likes him, but she&apos;ll be fine either way.

She&apos;s so marvelous in the first half of this (which is largely devoted to her and her romance), you forget you&apos;re watching a film noir of the time. It&apos;s like watching an actor from 20 years later, a Nouvelle Vague woman. She manages to make the whole transcend and had me feeling what it would be like if more studio pictures of the time were allowed to simply follow along with contemporary life on the streets. We&apos;d have to wait for Cassavetes to start that ball rolling and then onwards to Altman and the others. Ida would have made a dreamy collaborator in those years and would have flourished and shined all the more as both actor and filmmaker.

But this is still a film noir, which means succumbing to narrative controlled by selfish desire. In this case Richard Widmark is not happy that she chose his helping hand around the club; so he conspires to create a vengeful narrative that entraps all three, and no less his own self. The setting for this part is a remote cabin in the woods.

In a great scene the two lovers, looking glum now, sit across the table from each other overseen by Widmark at the head, as if the whole world has shifted to something other than real. Widmark, that early Jack Nicholson of film, deserves a standing ovation himself for all he achieved; not once has his usual mode of seething, petulant menace failed to enhance a film all the more.

The resolutions are predictable and really the last part of of the film is, but it&apos;s still decent noir. Taken as a whole, it&apos;s a rich primary text and wholly deserves the visit.

This is made with enough memorable pieces - the 'road house' in the small Midwest town, the torch singer fresh from Chicago who comes to upset the sleepy routine, the two men, owner and manager of the joint, who lust after her - that it would have been something to see regardless of who was in it.

Someone like Gene Tierney or Rita Hayworth would have been equal parts fierce and coquettish in navigating their private wants against the male desire that threatens to create a narrative that engulfs them. That would have been fine and the film worth watching.

But we got Ida Lupino instead, that whirlwind of softly indomitable spirit. I had heard enough about her in my various travels through film, always in context of trailblazing individualism, and have even seen her in a couple of films before. But for whatever reason, this was the first time I was so profoundly captivated by her talent that from now on, she's forever celebrated in my house.

Going by what she achieves here, she should be rightfully mentioned on par with Cagney, that other whirlwind of intelligent presence. It's an ability to float past obvious limits of a narrative, and from there inhabit a self who can freely enter the story, play and improvise on that edge, that makes her unerringly modern. In this case she gives us the soulful ingenue, the one required by the story, but at her choosing, and the next morning freely becomes someone who just wants to look around and explore.

Just look how her ability to shift what she inhabits in an easy and free manner makes the whole context of a scene shift. The scene with going up to the pond for a swim is written for her character to impress Wilde's as not just a stuck-up singer from Chicago. But the way she plays it turns it into she's there for a swim and shucks if he's impressed. Maybe she likes him, but she'll be fine either way.

She's so marvelous in the first half of this (which is largely devoted to her and her romance), you forget you're watching a film noir of the time. It's like watching an actor from 20 years later, a Nouvelle Vague woman. She manages to make the whole transcend and had me feeling what it would be like if more studio pictures of the time were allowed to simply follow along with contemporary life on the streets. We'd have to wait for Cassavetes to start that ball rolling and then onwards to Altman and the others. Ida would have made a dreamy collaborator in those years and would have flourished and shined all the more as both actor and filmmaker.

But this is still a film noir, which means succumbing to narrative controlled by selfish desire. In this case Richard Widmark is not happy that she chose his helping hand around the club; so he conspires to create a vengeful narrative that entraps all three, and no less his own self. The setting for this part is a remote cabin in the woods.

In a great scene the two lovers, looking glum now, sit across the table from each other overseen by Widmark at the head, as if the whole world has shifted to something other than real. Widmark, that early Jack Nicholson of film, deserves a standing ovation himself for all he achieved; not once has his usual mode of seething, petulant menace failed to enhance a film all the more.

The resolutions are predictable and really the last part of of the film is, but it's still decent noir. Taken as a whole, it's a rich primary text and wholly deserves the visit.

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