Night Was Our Friend

Ten years before the immortal 'Konga' Michael Gough had already returned home psychotic after crashing his plane in the jungle in this bizarre little melodrama whose title quotes 'The Aeneid', adapted from his own play by Michael Pertwee (who plays one of the jurors).

A lot happens in barely an hour's running time - although most of it we are told about rather than actually shown - and because it is framed in flashback we know much of what is going to happen but not how it will come to pass. The final rabbit pulled out of the hat to provide the 'surprise' conclusion is a surprise only to the audience, not the characters, since we've been deliberately kept in the dark about its existence right up to the rather abrupt conclusion.

Elizabeth Sellars is found not guilty of murdering her husband. The movie then tells the bulk of its story in flashback. Her husband, Michael Gough, was missing for some years. She fell in love with Ronald Howard. Then Gough reappears, having escaped from deep in South America. Miss Sellars loyally calls off the affair, but Gough appears to be at least mildly cracked, and she grows more and more miserable.

Michael Anderson's direction cannot conceal this being a staged play, nor can he control his actors, who give very deliberate and stagey performances. Cinematographer Gerald Gibbs tries to vary the camera set-ups, but there are enough two-shots of people talking to make the story's origins evident.

The story Michael Gough tells of how he ended up the sole survivor of a plane crash in the Brazilian jungle (when Brazil had one) is more interesting than this flashback-bound, sitting-room bound, constipated English murder/suicide 'mystery'. Which is hilarious if you're in the mood, and silly enough.

Ronald Howard, looking uncannily like Prince Harry, clips his vowels like a manicurist on meth. Michael Gough does the full Royal Court Theatre floppy-haired loony, and Elizabeth Sellars works rilly rilly hard too. The mother-in-law (Marie Ney) steps in and out of the sitting room at just the right moments, gives her lines, and then goes back to the green room, sorry, to bed. All it really lacks is Basil Rathbone.

Not so much 'directed' as filmed. Almost certainly better as a radio play, because there's nothing to look at. Ironic, considering it was produced by the Association of Camera Technicians (now Bectu) trade union's film company. Using stock incidental music, and it shows.

In the 1950s the film technicians union,ACT decided that they would go into production,presumably to give work to their members.If this is the best they could do then they shouldn't have bothered.this was more likely to put their members out of work than create work.It is as bad as any of the quota quickies from the thirties.The first seven minutes show the trial after which we are stuck in a very small set of the ground floor of the house which looks like it cost less than a prefab.There is virtually no editing.If there is a conversation between 2 people one is on the left side and the other on the right side of the screen and they just talk through the scene.If there are say 4 in the scene then the actors remain in the background till it is their turn to speak.They walk up to the camera speak their lines and then go back to the background.Michael Gough decides to go in for a lot of eye rolling antics in a good impression of Robert Newton just to make sure we know that he might not just be all there.It really is a tedious bore and how this film has achieved a score of 6.9 is perplexing,particularly when the other 2 reviews take the same view as me.Ah well there is no accounting for taste.This film was recently shown on satellite TV so if you see it in the schedules again,don't be tempted,watch paint dry instead it will be far more entertaining than this film.

The director of this quickie B movie is Michael Anderson who went on to become a Best Director Oscar nominee. The script is based on a stage play by Michael Pertwee.

Sally Raynor is acquitted of the murder of her husband by a jury. After a frosty conversation with her mother in law, we see Sally talking to Doctor Harper who it seems she has been close to.

We then go to a flashback where Sally is planning to marry Doctor Harper when news arrives that her missing husband thought to be dead in South America is in fact alive and returning home.

The trouble is Martin Raynor is behaving erratically and it also is clear that Sally does not love him.

The film is really a plodding and uninteresting melodrama. The normally reliable Michael Gough gives an unhinged performance, he is obviously mad.

More interesting is to see Ronald Howard in a lead role, he instantly reminded me of his father, Leslie Howard.