Midnight

This early Bogart movie is only available on DVD/video in a reissue print entitled "Call it Murder". This print lists Bogart above the title instead of 8th in the cast as in the original release, and was obviously resurrected to cash in on Bogart's post 1930's fame. He is adequate in a small part, but the film is a slow-moving filming of a 1930 play that is interesting enough as a moral melodrama, but also mercifully short. The interest lies in the sequences in the courtroom and death chamber, which eschew the stage-bound grouping, and ponderous delivery of the body of the film, and uses the camera in an imaginative and cinematic way. Worth a look as a 30's melodrama, but don't expect a Bogart movie.

I have recently watched this film again. This time I realized that there is a lot in the movie besides just seeing Bogart in one of his early films. This movie makes a very strong statement about capital punishment. Equally as strong is its statement on who you know if you want to beat a rap. The whole movie takes place during a few hours before the scheduled execution of a woman who killed her lover who was going to leave her. Except for the beginning court scenes, and prison scenes, and a couple of scenes where Bogart is in a room somewhere, and when he and Sidney Fox are in his car, the movie takes place at the home of the jury foreman who found the woman guilty. A news reporter gets into the house with a radio and a surprise at the end so that the public can witness what it's like for that foreman as the scheduled execution time approaches. What you may think is a surprise ending really isn't the end at all. Keep watching for the twist involving the district attorney who has his eye on the governorship. This film, like Bogart and Huston's Beat The Devil, is in the public domain.

MIDNIGHT (reissued by "Guaranteed Pictures" in 1947 as CALL IT MURDER with eighth billed Humphrey Bogart - now famous - elevated to top billing for his supporting role) was originally filmed at the Biograph Studios in Queens, New York, for Universal Pictures, based on a Theatre Guild production of the same name (but called IN THE MEANTIME during its tryout tour).

While the stage production disappointed the critics and was not extended beyond its initial subscription run (48 perf., December 29, 1930 - Feb. 1931 at the Guild Theatre), Claire and Paul Sifton's examination of the flaws in the idea that "the law is the law" regardless of justice or tempering with mercy was interesting enough to justify Universal's committing a cast from the top of their second tier to turning out a decent "programmer" to fill the demand for films to keep the screens they controlled occupied between their major releases and training stars in the making (like Bogart and Sidney Fox).

The original play concerned the foreman of a jury, a man named Edward Weldon (O.P. Heggie on screen), which had condemned a woman for the murder of a man who was leaving her - only to find, two acts later, his daughter (Fox) in a similar situation.

Director Chester Erskine (at the start of a career which would see well remembered work on such "A" releases as THE EGG AND I, ALL MY SONS and ANDROCLES AND THE LION, working as director, writer and producer for another 40 years), while unable to produce the figurative "silk purse" out of a possible "sow's ear" of a melodrama, opened up the play, originally set only in the Weldon living room, with excellent - and given the period, surprisingly sophisticated - crosscutting between the condemned woman, the daughter's developing affair and the moral quandary around the Weldon himself.

If the 30's structure of the argument may strike many as dated today, and the "deus ex machina" solution to one of Weldon's problems too pat to be genuinely satisfying, they probably are - but the elder Weldon's overly strict, unbending interpretation of his moral and civic obligations is hardly unknown today as an excuse for lack of thought or bigotry. A remake with more "modern" technique might indeed be well received, but the implicit melodrama would be just as blatant.

While Humphrey Bogart's role is a relatively small one (although it is woven through most of the film), it makes for legitimately fascinating viewing as a transitional role for the handsome actor who had been playing stage juveniles. He had had 15 Broadway roles in the 12 years - and 9 films in the three years - before making this film, but would only have two more Broadway credits afterward (but 66 films). His Gar Boni in MIDNIGHT is very well done in a more modern style than many around him (see the similar effect the young Helen Hayes achieved with the same then "fresh" realistic style in 1932's FAREWELL TO ARMS) before finding the "world weary" persona that won career-making acclaim for his "Duke Mantee" opposite Leslie Howard on Broadway and screen just two years later.

It may be of some interest that on stage, the supporting role of Arthur Weldon (played in the film by future director Richard Whorf) was created by actor/playwright Clifford Odets.

Finding a good print of MIDNIGHT or even CALL IT MURDER may not be easy, but the search may be worth it. Don't expect a polished "modern" film, and shallow film buffs who don't appreciate history or context will probably hate it, but true film connoisseurs shouldn't miss this one for what IS there.

Interesting film that explores the outcome of a murder trial on the jury formant and his family. A drama unfolds in the jury formans house on the night of the execution with surprising results for the legalistic jury forman who swayed the jurys verdict. Also interesting because the film features a very young Humphrey Bogart in a small role. The only disapointment is that Bogart didnt have more screen time. A better than average early message movie.

Humphrey Bogart plays Garboni a gangster involved with the daughter of a jury foreman who helped convict a women of shooting the man who betrayed her. The pressure that falls upon this man and those around him makes the films story. This film is interesting for two reasons it explores guilt from two different perspectives on two different people giving the audience a wide range of emotions and consequences of dealing with the murder. Secondly it features Bogart in a small role, that should have been given more screen time. Bogart was still relatively unknown to the movie going public at the time it was made, of course he has a part that can be categorized as a 'heavy' a role he would fill many times until Maltese Falcon, where he would break through and finally play a lead role that did not require him to be a gangster.