by Frank Calvillo
When placing Jean Neguleco’s 1948 Road House on the film noir scale, the number of genre conventions it chooses to abandon becomes immediately apparent. There is no outright femme fatale, no upfront villain, and none of the other trappings usually found that make up the dangerous and oddly romantic world which comprises film noir. However, what Road House does offer up in the absence of traditional noir standards is a collection of some of the era’s top actors in a dark romantic drama that proudly bears that unmistakable noir stain.
In Road House, nightclub owner Jefty (Richard Widmark) hires the tough and beautiful songstress Lily (Ida Lupino), despite the objections of his friend and manager Pete (Cornel Wilde). However, when Pete and Lily begin to fall in love, despite good girl Susie’s (Celeste Holm) warnings, Jefty immediately accuses his best friend of betrayal and will stop at nothing to get revenge.
Intended or not, the truth of the matter is that Road House is hands down more melodrama than film noir. So many traits of the screenplay point to this, including the notion of a decades-long friendship unraveling because of a woman and in the character of Jefty, who is hopelessly in love and is determined to do anything in his power to keep that love going, even if it’s only in his own mind. However, it’s the character of Lily who boasts most of the melodramatic traits. The moments of her at the piano are fascinating thanks to the way Lupino sings. The actress mixes the tough steeliness of the character with a softness and a sort of mourning for the dreams she has given up on, while her refusal to get close to people serves as protection from a dark past.
As I stated before, Road House still retains that unmistakable noir stain despite the various dramatics on hand. While there are no gumshoes or molls to be found here, the film does boast excellent examples of the prototypes which populated the world of film noir. From Susie’s safe good girl who practically radiates purity to Lily’s armor of toughness and Jefty’s instinct to turn evil and dastardly when he feels he’s been betrayed, these people may not have always been at the forefront of noir-filled tales, but they did indeed exist in the background and help comprise that world as it’s remembered today.
What Road House lacks in mystery it makes up for in acting. The film is truly a great showcase for a collection of great Hollywood stars. Lupino is superb as the prickly Lily, with her tough-as-nails persona fitting the bill perfectly for the kind of woman she’s playing. The same goes for Widmark, who just oozes slime and shadiness, but who also contains great pain and anguish underneath. The two act as wonderful polar opposites to the goody goody-ness of Wilde and Holm’s characters. Watching them all interact within the same world is never anything short of entertaining.
Road House remains largely plot-less most of the way through. However, it’s still interesting to watch all these characters interact with each other and see how they represent the different sides of 1940s society. There’s no denying that the film exists as melodrama with a noir stain for the most part until the third act. Even then, the film never really shakes that feeling off, retaining a sort of Greek tragedy feel which works hand in hand with its noir setting almost perfectly.
The Package
Killer Instinct: Richard Widmark and Ida Lupino at Twentieth Century Fox is a thoughtful and informative rundown on the careers of Lupino and Widmark by famed film historians Eddie Muller and Robert Osborne, who are joined by others in giving both performers their dues as staples of film noir.
The film’s commentary, recorded the week of Widmark’s death, between Muller and film historian Kim Morgan, works as an enjoyable lesson in the world of film noir. Highlights include the sexual and romantic symbolism seen throughout the film, the justified criticizing of Holm’s thankless role, going over the original studio coverage notes on the film and comparing them to the end result, and, most importantly, noting how it’s the attitudes and motivations of the characters which lead a film into noir territory.
Final Thought
Arguments aside as to what genre Road House belongs to, the film stands as a showcasing for some of the era’s most talented stars and a great example of the level of filmmaking which existed during that time.
Road House is now available on Blu-ray from Kino Lorber.
