Road House (1948) [AY]

Road House (1948) filminin afişi


Video: Xvid 720×480 23.976fps [Stream 00]
Audio: Dolby AC3 48000Hz stereo 192kbps [Stream 01]
Audio: Dolby AC3 48000Hz stereo 192kbps [Stream 02]

SES: İngilizce / İngilizce Director’s comments
(İkinci ses filmin yönetmeni Jean Negulesco’nun anlatımıdır)
ALTYAZI: Türkçe / İngilizce

[DVD-9 sürümü var, iyifilm tarafından RIPlenmiştir]

Tür: Macera, Dram, Kara Film
Yapım Yılı, Ülkesi: 1948 – ABD
Yapımcı: Edward Chodorov
Senaryo: Edward Chodorov
Senaryo (Kitap): Margaret Gruen, Oscar Saul
Yönetmen: Jean Negulesco
Görüntü Yönetmeni: Joseph LaShelle
Müzik: Cyril J. Mockridge
Gösterim Tarihi:22 Eylül 1948 (ABD)

Lily Stevens ile Susie Smith Road House (1948) filminin bir sahnesinde

Ida Lupino … Lily Stevens
Cornel Wilde … Pete Morgan
Celeste Holm … Susie Smith
Richard Widmark … Jefferson T. ‘Jefty’ Robbins
O.Z. Whitehead … Arthur
Robert Karnes … Mike
George Beranger … Lefty
Ian MacDonald … Police Captain
Grandon Rhodes … Judge

Noir (kara film) sevenler için…
Yönetmen Jean Negulesco, bu filmle ilgili 21 yıl sonra bir itirafta bulundu. Yönetmen Negulesco, filmin yapımcısı Fox Studio şefi Darry F. Zanuck’a “senaryonun çok kötü” olduğunu söylediği açıkladı. Hatta üç yönetmenin senaryo yüzünden bu filmi reddettiklerini de hatırlatmış. Ancak yapımcının dediği olmuş ve Negulesco filmi çekmiş.
İki yüzlülüğü ve kadın meselesinin iki eski dostu bile düşman edebileceğini anlatan bir film.



Jefty Robbins (Richard Widmark) Kanada sınırına yakın bir taşra kasabasında, yol üzerinde barın işletir. Çocukluk arkadaşı Pete Morgan ise (Cornel Wilde) barın yöneticisidir. Küçük kasabanın sarışın güzel kızı Susie Smith de (Celeste Holm) barda çalışmaktadır. Jfety Robbins, Şikago’ya yaptığı seyahat sırasında tanıştığı Lily Stevens (Ida Lupino) ile barında şarkı söylemesi için anlaşmıştır. Ona aşık da olmuştur.
Lily ile Susie’nin ilk tanışmalarında kadın kıskançlığı kendini gösterir, her ikisinin de saç modeli aynıdır.
Eski iki arkadaş olan Jefty ile Pete arasına kadın meselesi girecektir.
Jefty Robbins, şarkıcı Lily Stevens’e aşık olur. Lily’nin gönlü ise Pete Morgan’dadır. Jefty, evlilik teklifi reddedilince çılgına döner. Onları cezalandırmak için intikam planları yapmaya başlar. Ancak evdeki hesap çarşıya uymaz.

Jefty, owner of a roadhouse in a backwoods town, hires sultry, tough-talking torch singer Lily Stevens against the advice of his manager Pete Morgan. Jefty is smitten with Lily, who in turn exerts her charms on the more resistant Pete. When Pete finally falls for her and she turns down Jefty’s marriage proposal, they must face Jefty’s murderous jealousy and his twisted plots to “punish” the two.

Directed by Jean Negulesco (Humoresque) from a script by producer Edward Chodorov (Undercurrent), Road House is a solid noir tale about backwoods romance and double-crossing. Rock-jawed good guy Pete Morgan (Cornel Wilde) runs a nightclub near the Canadian border for his childhood pal Jefty Robbins (Richard Widmark). Jefty is a spoiled rich kid who never grew up, and whenever he goes traveling to the city, he falls in love with a saloon singer that he tries to import to his road house, usually with sour results. This time he has returned from Chicago with smoky-voiced Lily Stevens (Ida Lupino), a down-on-her-luck siren looking for a break. Booze and cigarettes and likely quite a bit more hard living have done a number on her voice, causing her rival, the sweet and blonde small-town girl Susie Smith (Celeste Holm) to quip that Lily sounds good “if you like the sound of gravel.”

Well, turns out that the town does like gravel in their ears, as Lily is a hit. Lupino, doing her own singing, imbues the torchy piano numbers, which include “One For My Baby (And One More for the Road)” and “Again,” with every lesson her character has learned in life, and the resulting weariness lends a surprising emotional depth to the material. She sounds like Peggy Lee with a hangover, and it works. Though Pete originally tried to send the girl straight back out of town, he comes around when he sees the reaction of the patrons, and even more so as Lily begins to reveal more of herself. In the battle of the sexes, poor Susie doesn’t have a prayer. Lily knows all of the hometown gal’s moves, and she can easily do her one better.

Naturally, Pete and Lily get together, and the only one who can’t see it coming is Jefty. Despite the constant rebuffs, he thinks the songstress is going to marry him, and when Pete comes clean with the truth, Jefty snaps. Before the new lovers can get out of town, Jefty institutes a demented plan designed to tie Pete to him for good, thus forcing Lily to stick around, too.

The plot for Road House is fairly standard as far as melodrama goes, but Negulesco takes full advantage of his Northern setting to create a kind of log-cabin noir. Sharp suits are traded in for warm coats and brick walls for wood paneling. There is an altogether different specter of death floating above the players than one would find in the big city. Lily refers to the town as a “moosetrap,” and there are signs of hunting culture all over the place, from the mounted heads on the wall to the fact that her hotel is called the Antlers. There is an understated bloodlust in the air, and the alleged betrayal occurs when Jefty is away on a hunting trip where he bags three moose–one for himself, one for Pete, and one for Susie. Lily was to share in his stake, the way any gangster’s moll would when he returns from a job, the hunting being this movie’s equivalent of a bank robbery. This makes it even more fitting that Negulesco and Chodorov stage the climax in the mountains at Jefty’s hunting cabin, building to a tense chase through a foggy forest.

Of course, all this drama and window dressing would be nothing without a great cast, and Road House has a pretty stellar line-up. Wilde and Holm deliver solid performances, but the true heat on the screen is coming from Lupino and Widmark. As Lily, Ida Lupino is sharp and full of internal conflict. The actress gives the girl a lot of smarts, but she also seems to be carrying a backstory full of pain and longing. She displays confidence in chasing Pete, but when it’s just her and the camera, Lupino also shows desperation, like being rejected by the right guy because he’s friends with the wrong one is the last thing she needs (and, honestly, it is).

Richard Widmark’s early career is marked with excellent performances as the bad guy, and Road House is up there with the best of them. Like Lily, Jefty carries around a host of past failures, and Widmark manages to show this insecurity while also creating an obvious mask the character uses to hide it. He swaggers and boasts at the best of times, and gets cunning and mean at the worst. With his rat-a-tat laugh, Widmark makes Jefty a real menace. At the same time, he’s not afraid to make himself look bad when it all comes unraveled and Jefty becomes a sweating, wheezing mess.

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