Night Must Fall
Joined Jun 2001
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Reviews22
Night Must Fall's rating
Without a doubt, this is one of the finest films I have seen. Paul Muni's performance is so good, it's practically indescribable. I thought he was extremely believable as the unduly accused and convicted James Allen. This story will rip your heart out, and rightly so. The film is very well done in every way, down to the smallest detail (best example of this: the disgusting looking prison food if you can call it that). The use of newspaper headlines is extremely effective, as well as the very realistic scenes in the prison and work yard, and the whole environment in which Allen must live. The viewer can almost feel Allen's pain as the other inmate hammers away at his leg chains to give him a glimpse of hope toward freedom. However, even the scenes of Allen's life on the outside still evoke a sense of foreboding. This is a very powerful film.
I saw it as part of the Essentials series on Turner Classic Movies, and Robert Osborne said that the real-life protagonist on whom this film is based acted as a consultant. Since he was still on the run, however, he was not credited. The whole situation is so sad, and this sadness and feeling of oppression hang over the film with such realism, that sometimes it is as though you are watching Allen's life caught on videotape, instead of a motion picture. It is extremely gripping and downbeat, with a killer ending. The fact that it's a true story just adds to the pervasive feeling of doom. Way ahead of its time, and a brave picture to make in its indictment of the justice system. WOW.
TWO FAVORITE MOMENTS: 1) Allen looking directly at the policeman in the barbershop with a determined, steely glare, as if suddenly realizing that he will not be recognized, and simply defying the cop to recognize him. The barber doesn't recognize him either, even though the cop and barber have just been describing Allen. This scene, I am sure, meant to emphasize the incompetence of the police and justice system, without using any words to do so. Fantastically done. I am in awe.
2) Chain gang inmate Barney Sykes (played by supreme character actor Allen Jenkins), finally released from jail, is offered a ride from the prison staff, who are carting the coffin of a dead inmate off the grounds. Very matter-of-factly, as though he has done this before (and thus demonstrating the de-humanizing effects of prison life) Sykes hops up onto the back of the truck and sits right on the coffin. Upon seeing this out the window, the other inmates ruminate on the fact that there are only two ways to leave the chain gang `get let out, or die out.'
I will not give the ending away, but if it doesn't move you to tears, I don't know what will. Haunting.
My ONLY (minor) problem with the film is that all of the ladies in Allen's life look so similar, I could barely tell them apart!
HIGHLY RECOMMENDED!!!!! See it.
I saw it as part of the Essentials series on Turner Classic Movies, and Robert Osborne said that the real-life protagonist on whom this film is based acted as a consultant. Since he was still on the run, however, he was not credited. The whole situation is so sad, and this sadness and feeling of oppression hang over the film with such realism, that sometimes it is as though you are watching Allen's life caught on videotape, instead of a motion picture. It is extremely gripping and downbeat, with a killer ending. The fact that it's a true story just adds to the pervasive feeling of doom. Way ahead of its time, and a brave picture to make in its indictment of the justice system. WOW.
TWO FAVORITE MOMENTS: 1) Allen looking directly at the policeman in the barbershop with a determined, steely glare, as if suddenly realizing that he will not be recognized, and simply defying the cop to recognize him. The barber doesn't recognize him either, even though the cop and barber have just been describing Allen. This scene, I am sure, meant to emphasize the incompetence of the police and justice system, without using any words to do so. Fantastically done. I am in awe.
2) Chain gang inmate Barney Sykes (played by supreme character actor Allen Jenkins), finally released from jail, is offered a ride from the prison staff, who are carting the coffin of a dead inmate off the grounds. Very matter-of-factly, as though he has done this before (and thus demonstrating the de-humanizing effects of prison life) Sykes hops up onto the back of the truck and sits right on the coffin. Upon seeing this out the window, the other inmates ruminate on the fact that there are only two ways to leave the chain gang `get let out, or die out.'
I will not give the ending away, but if it doesn't move you to tears, I don't know what will. Haunting.
My ONLY (minor) problem with the film is that all of the ladies in Allen's life look so similar, I could barely tell them apart!
HIGHLY RECOMMENDED!!!!! See it.
What a disappointment. After a terrific opening 15 minutes or so, this film went downhill fast. However, it is one of the better examples of documentary commentary and footage used in a film to help set the stage/background and tell the story. The documentary portions were very good, purposeful and effective (if slightly hysterical in their well-meaningness). For this, the film cannot be faulted, and this is definitely its strong point.
If only the rest of the movie lived up to this aspect, The Roaring Twenties would be a great film. Instead, it is riddled with problems.
As a whole, the film was slow and drawn out, and could have used lots of cutting, especially the musical sequences and shootouts.
There was too much heavy-handed obviousness in portraying Panama Smith's (Gladys George) love for Eddie Bartlett (James Cagney), even to the point of repeating closeup shots of their hand-holding (then cut to a sad George, with a wistful look on her face) three times within a matter of 20 minutes! We get it, already!!!!
I wished that Jeffrey Lynn and Humphrey Bogart had had more screen time. Bogie was in the first 10 minutes, then disappeared until much later in the film. He should have returned somewhat earlier, even for just a moment or two, as I'm sure I was not the only viewer distracted by wondering when Bogie would return to the story. Subsequently, I could not enjoy this part of the film, as I sat there waiting for him to show up again.
Frank McHugh's character was much more annoying than amusing this time around, and was mostly superfluous to the action.
Both the speakeasy customers and the guys who ran the bootleg liquor operations were too low-key. While the great documentary footage illustrated the industry rather excitingly, the on-screen portrayals of the set-up looked downright boring. I've seen better nightclub brawls in Doris Day films, never mind any others with Cagney or Bogart!
Many reviewers seemed to idolize the film's ending. What was so spectacular there? Sure, it was ironic, but it wasn't particularly great by any means. In fact, the ending was copied in 1942's Johnny Eager, with Robert Taylor in the Cagney role and Van Heflin (!) in the Gladys George role. This same ending was much more effective in that film than it is here. And poor Jimmy Cagney didn't even get any `famous last words' to speak in this one. What a rip-off!
Bogart's George Hally character was more interesting than Cagney's Eddie Bartlett, yet Cagney's character monopolizes much of the story.
Now that I've gotten all that off my chest, I will say that the acting was very good all around, and there are some enjoyable moments to be found (too bad they are few and far between).
CAST/PERFORMANCES: Humphrey Bogart did well with is relatively small bad-guy role. I loved his early scenes taking place during the war George Hally was obviously a guy with a bone to pick, and a real live wire, and who better to play him than Bogie?
James Cagney was good as always, yet I found his Eddie Bartlett character to be a bit annoying. Still his scenes with the ladies were good, especially his drunk scene (with Gladys George) late in the film. He was excellent at playing drunk, especially by the way he held and or moved his head, as though trying extra hard to focus, just like when one is really intoxicated. Excellent! I read in a Cagney biography that he improvised the `Well, is it OK if I honk my horn as I drive by?' line when asking Jean out for a date after many rejections. What a guy!
Priscilla Lane was great as Cagney's love interest, Jean Sherman. The juxtaposition between the sultry, adult photo she sent to Cagney in the mail versus her true fresh-faced schoolgirl image was very amusing. (She confesses, `that photo was from a school play.') While only 22 at the time of making this film, Lane gave a strong, versatile performance. See her also in the 4 Daughters series of films with her sisters Lola and Rosemary Lane, plus Claude Rains and Gale Page. You will not be disappointed.
Gladys George (Panama Smith) A well-written and performed role, George was extremely convincing as the underground hard-nosed yet quite vulnerable Ms. Smith. She played all of her scenes with much heart and realism, and I now would like to track down some more of her work.
If only the rest of the movie lived up to this aspect, The Roaring Twenties would be a great film. Instead, it is riddled with problems.
As a whole, the film was slow and drawn out, and could have used lots of cutting, especially the musical sequences and shootouts.
There was too much heavy-handed obviousness in portraying Panama Smith's (Gladys George) love for Eddie Bartlett (James Cagney), even to the point of repeating closeup shots of their hand-holding (then cut to a sad George, with a wistful look on her face) three times within a matter of 20 minutes! We get it, already!!!!
I wished that Jeffrey Lynn and Humphrey Bogart had had more screen time. Bogie was in the first 10 minutes, then disappeared until much later in the film. He should have returned somewhat earlier, even for just a moment or two, as I'm sure I was not the only viewer distracted by wondering when Bogie would return to the story. Subsequently, I could not enjoy this part of the film, as I sat there waiting for him to show up again.
Frank McHugh's character was much more annoying than amusing this time around, and was mostly superfluous to the action.
Both the speakeasy customers and the guys who ran the bootleg liquor operations were too low-key. While the great documentary footage illustrated the industry rather excitingly, the on-screen portrayals of the set-up looked downright boring. I've seen better nightclub brawls in Doris Day films, never mind any others with Cagney or Bogart!
Many reviewers seemed to idolize the film's ending. What was so spectacular there? Sure, it was ironic, but it wasn't particularly great by any means. In fact, the ending was copied in 1942's Johnny Eager, with Robert Taylor in the Cagney role and Van Heflin (!) in the Gladys George role. This same ending was much more effective in that film than it is here. And poor Jimmy Cagney didn't even get any `famous last words' to speak in this one. What a rip-off!
Bogart's George Hally character was more interesting than Cagney's Eddie Bartlett, yet Cagney's character monopolizes much of the story.
Now that I've gotten all that off my chest, I will say that the acting was very good all around, and there are some enjoyable moments to be found (too bad they are few and far between).
CAST/PERFORMANCES: Humphrey Bogart did well with is relatively small bad-guy role. I loved his early scenes taking place during the war George Hally was obviously a guy with a bone to pick, and a real live wire, and who better to play him than Bogie?
James Cagney was good as always, yet I found his Eddie Bartlett character to be a bit annoying. Still his scenes with the ladies were good, especially his drunk scene (with Gladys George) late in the film. He was excellent at playing drunk, especially by the way he held and or moved his head, as though trying extra hard to focus, just like when one is really intoxicated. Excellent! I read in a Cagney biography that he improvised the `Well, is it OK if I honk my horn as I drive by?' line when asking Jean out for a date after many rejections. What a guy!
Priscilla Lane was great as Cagney's love interest, Jean Sherman. The juxtaposition between the sultry, adult photo she sent to Cagney in the mail versus her true fresh-faced schoolgirl image was very amusing. (She confesses, `that photo was from a school play.') While only 22 at the time of making this film, Lane gave a strong, versatile performance. See her also in the 4 Daughters series of films with her sisters Lola and Rosemary Lane, plus Claude Rains and Gale Page. You will not be disappointed.
Gladys George (Panama Smith) A well-written and performed role, George was extremely convincing as the underground hard-nosed yet quite vulnerable Ms. Smith. She played all of her scenes with much heart and realism, and I now would like to track down some more of her work.
Another coup for Joan Crawford, 1947's Possessed (Joan co-starred with Clark Gable in a 1938 film of the same name), sees the star in a great vehicle in which to show off her many dramatic talents.
The hospital scenes are a bit over the top, and Stanley Ridges plays the psychiatric doctor a bit too eagerly. I half expected him to start wringing his hands with an Igor-type `yes, master I think it's working, master' look on his face every time one of the drugs he gave Joan Crawford began taking effect. Ridges' performance is earnest, but his approach made me giggle more than once.
What's good about the film is its insight into issues regarding mental illness and its compassionate, non-exploitative exploration of the subject matter. This is accomplished in spite of Ridges' misguided portrayal of Dr. Willard, and due in large part to Crawford's brave, unglamorous portrayal of patient Louise Graham.
On the whole, Possessed is a very entertaining film that left me wanting to know what would happen next.
I think the death of Dean Graham's first wife is rushed and a bit muddled. Her character should have been actually introduced (even in one brief scene) rather than merely heard or talked about in flashback. Instead, there is just a big jump right into the marriage of Dean and Louise. This lack of transition really annoys me, although I can't exactly pinpoint why I guess the whole thing just feels rushed.
Conveniently appearing and re-appearing on the scene is architect David Sutton, always around to throw Louise into a tizzy, as she cannot seem to get over the fact that he has broken off their relationship. It's difficult to understand David's appeal, as his character is extremely smarmy and smug, and he has no socially redeeming values whatsoever. To illustrate this, he shows up un-invited to Dean and Louise's wedding reception for the free food and drink. Ultimately, Dean's daughter Carol falls for him. Why, ladies??
If one can get past this implausible plot thread and take the story at face value, this is when the film really takes off, and Crawford's neurosis/psychosis picks up speed. The film improves greatly from here, and the plot advances nicely.
CAST/PERFORMANCES: Joan Crawford (Louise Howell Graham) Crawford's transformation from personally neurotic, yet mild, unobtrusive caregiver to scheming, paranoid, jealous, unstable woman scorned is fairly believable, given the plot. I adore her voice, and the circumstances of the script, her role, and therefore her dialog really allow Crawford to express herself well, and she is a treat to hear as well as watch, as usual.
Raymond Massey (Dean Graham) Massey is such a natural actor that I always adore his performances, and here is just wonderful. I love the scene where he dances with Crawford watch as he forgets himself and sticks his tongue partway out with the effort of the dance. That, his quoting Bugs Bunny and his very tender, heartfelt scenes with Joan (his Dean Graham character is so sweet and patient) are a standout. I think it was a good casting choice to go with Massey, as his self-effacing nature is perfect for this role.
Van Heflin (David Sutton) Despite the character's flaws (a very difficult role to play), in the actor's capable hands, it is done well. In his inimitable style and voice inflection, Heflin has the best line in the film, which he delivers offhandedly while pacing the floor: `I'm sorry, Louise I seldom hit a woman, but if you don't leave me alone, I'll wind up kicking babies.'
Geraldine Brooks (Carol Graham) a lovely actress, who I am sure I've seen in other films, as her name sounds familiar. Shes very good as Carol, and gives a lively and strong performance as Massey's daughter. Her reaction to her mom's death and to Crawford's motives for marrying her father are very believable.
A good cast, interesting plot, and decent execution make for a fine film noir.
The hospital scenes are a bit over the top, and Stanley Ridges plays the psychiatric doctor a bit too eagerly. I half expected him to start wringing his hands with an Igor-type `yes, master I think it's working, master' look on his face every time one of the drugs he gave Joan Crawford began taking effect. Ridges' performance is earnest, but his approach made me giggle more than once.
What's good about the film is its insight into issues regarding mental illness and its compassionate, non-exploitative exploration of the subject matter. This is accomplished in spite of Ridges' misguided portrayal of Dr. Willard, and due in large part to Crawford's brave, unglamorous portrayal of patient Louise Graham.
On the whole, Possessed is a very entertaining film that left me wanting to know what would happen next.
I think the death of Dean Graham's first wife is rushed and a bit muddled. Her character should have been actually introduced (even in one brief scene) rather than merely heard or talked about in flashback. Instead, there is just a big jump right into the marriage of Dean and Louise. This lack of transition really annoys me, although I can't exactly pinpoint why I guess the whole thing just feels rushed.
Conveniently appearing and re-appearing on the scene is architect David Sutton, always around to throw Louise into a tizzy, as she cannot seem to get over the fact that he has broken off their relationship. It's difficult to understand David's appeal, as his character is extremely smarmy and smug, and he has no socially redeeming values whatsoever. To illustrate this, he shows up un-invited to Dean and Louise's wedding reception for the free food and drink. Ultimately, Dean's daughter Carol falls for him. Why, ladies??
If one can get past this implausible plot thread and take the story at face value, this is when the film really takes off, and Crawford's neurosis/psychosis picks up speed. The film improves greatly from here, and the plot advances nicely.
CAST/PERFORMANCES: Joan Crawford (Louise Howell Graham) Crawford's transformation from personally neurotic, yet mild, unobtrusive caregiver to scheming, paranoid, jealous, unstable woman scorned is fairly believable, given the plot. I adore her voice, and the circumstances of the script, her role, and therefore her dialog really allow Crawford to express herself well, and she is a treat to hear as well as watch, as usual.
Raymond Massey (Dean Graham) Massey is such a natural actor that I always adore his performances, and here is just wonderful. I love the scene where he dances with Crawford watch as he forgets himself and sticks his tongue partway out with the effort of the dance. That, his quoting Bugs Bunny and his very tender, heartfelt scenes with Joan (his Dean Graham character is so sweet and patient) are a standout. I think it was a good casting choice to go with Massey, as his self-effacing nature is perfect for this role.
Van Heflin (David Sutton) Despite the character's flaws (a very difficult role to play), in the actor's capable hands, it is done well. In his inimitable style and voice inflection, Heflin has the best line in the film, which he delivers offhandedly while pacing the floor: `I'm sorry, Louise I seldom hit a woman, but if you don't leave me alone, I'll wind up kicking babies.'
Geraldine Brooks (Carol Graham) a lovely actress, who I am sure I've seen in other films, as her name sounds familiar. Shes very good as Carol, and gives a lively and strong performance as Massey's daughter. Her reaction to her mom's death and to Crawford's motives for marrying her father are very believable.
A good cast, interesting plot, and decent execution make for a fine film noir.