"They Live By Night" joins "Gun Crazy" (1949) and "Bonnie and Clyde" (1967) to form a little trilogy of remarkable films in the "lovers-on-the-lam" sub-genre. Nicholas Ray's film has much in common with "Gun Crazy," both in look and theme, but it's a much warmer and more emotionally effective piece of film-making. Peggy Cummins gave a fascinating performance in "Gun Crazy" as a flinty, unbelievably callous femme fatale; Cathy O'Donnell in "They Live By Night" will break your heart.
Indeed, the acting is probably this film's greatest asset, and it enables what in all respects is a B movie to feel like an A one. Farley Granger and O'Donnell bring wonderful nuances to their roles, and they have a naturalistic style of acting that feels ahead of its time when compared to other films from the same period. Howard da Silva is also tremendous in the supporting role of Chickamaw, managing to create a grotesque character who nevertheless feels at home in the very human world created by Ray. And Helen Craig shines in a small but vital role as Mattie, who may be the most heartless character in the film.
At a time when America most likely just wanted to hurry up and get everything back to normal, how shocking that a film like this would emerge. The domestic contentment that Granger and O'Donnell establish for themselves is a sham; they know it and we know it. They're living on borrowed time, and the things that the average American strived for in a booming post-war climate--loving spouse, children, safe and secure home--exist in this film as taunting reminders of blessings this couple can never have.
And the ending---that could have been so sentimental and is instead in Ray's hands so spare and sad---just may well take your breath away.
Grade: A+
Indeed, the acting is probably this film's greatest asset, and it enables what in all respects is a B movie to feel like an A one. Farley Granger and O'Donnell bring wonderful nuances to their roles, and they have a naturalistic style of acting that feels ahead of its time when compared to other films from the same period. Howard da Silva is also tremendous in the supporting role of Chickamaw, managing to create a grotesque character who nevertheless feels at home in the very human world created by Ray. And Helen Craig shines in a small but vital role as Mattie, who may be the most heartless character in the film.
At a time when America most likely just wanted to hurry up and get everything back to normal, how shocking that a film like this would emerge. The domestic contentment that Granger and O'Donnell establish for themselves is a sham; they know it and we know it. They're living on borrowed time, and the things that the average American strived for in a booming post-war climate--loving spouse, children, safe and secure home--exist in this film as taunting reminders of blessings this couple can never have.
And the ending---that could have been so sentimental and is instead in Ray's hands so spare and sad---just may well take your breath away.
Grade: A+