Negulesco’s film Johnny Belinda (1948) is the story of a poor, uneducated deaf-mute girl played by Jane Wyman. It was nominated for 12 Academy Awards, and won one — Wyman took home the Oscar for Best Actress.
Road House, on the other hand, was nominated for zero Academy Awards.
But they’re both very good films, and watched back to back, they really show Negulesco’s facility with both A-quality material and B-quality material.
A truly good potboiler is as hard to pull off as a truly good drama is, and Road House is a truly good potboiler.
In an interview he gave in 1969, Negulesco recalled being given the assignment to direct Road House by 20th Century Fox studio head Darryl F. Zanuck. Negulesco said that Zanuck told him, “This is a bad script. Three directors have refused it. They don’t know what they’re doing, because basically it’s quite good. Remember those pictures we used to make at Warner Bros., with Pat O’Brien and Jimmy Cagney, in which every time the action flagged we staged a fight and every time a man passed a girl she’d adjust her stocking or something, trying to be sexy? That’s the kind of picture we have to have with ‘Road House.’”
Negulesco knew exactly what kind of picture he was directing, and he directed the hell out of it. The first shot of Lily Stevens (Ida Lupino) shows her with her bare leg up on a desk. She’s dealing cards alone, and there’s a smoldering cigarette next to her bare foot.
Lupino was smart, sexy, and talented, and she’s a joy to watch in Road House. When she played a singer in The Man I Love (1947), all of her performances were dubbed by Peg La Centra, but this film finally gave moviegoers an opportunity to hear her real singing voice. As Susie Smith (Celeste Holm) says in the film, “She does more without a voice than anybody I’ve ever heard.”
Lupino may not have been the most impressive chanteuse working in Hollywood, but when she sings “One for My Baby and One More for the Road” in Road House, it’s an emotional scene that tells us more about her character than pages of expository dialogue ever could.
Besides the lovely Lupino and the talented Holm, Road House also features chiseled hunk Cornel Wilde. My favorite scene is the one in which he gives Lupino the angriest, most sexually charged bowling lesson I’ve ever seen in a film.
And last but not least, Road House was the third time Richard Widmark appeared on film, and it was the third time he played a memorable villain. He plays Jefferson T. “Jefty” Robbins, the owner of the juke joint that gives the film its name, and his character is a scheming chump who just can’t take no for an answer.