Blues in the Night

This is a very offbeat kind of film that is not well known. You'll either really love it - I do - or you'll not care for it at all. Anatole Litvak, who directed so many womens' pictures, directs this odd little film that starts out as a kind of "small town band does good" picture, takes a turn into gangster territory, and then gets really dark with a venture into film noir and mental illness. Nobody in this film was a big name at the time, and I get the feeling it was one of those films that Warner's liked to grind out like sausages in the 30's and 40's that just happened to turn out to be rather special. Great performances are turned in from everyone involved, which includes Priscilla Lane as a good girl with depth, Lloyd Nolan as a gangster with a touch of the entrepreneurial and even a bit of a mentor, Jack Carson as a heel with a large bag of excuses for his behavior, Betty Field as the gangster's moll who aspires to be a singer and also ruins men as a hobby, and Richard Whorf as the musician and bandleader who falls for the moll and also into temporary insanity. Also note that future great director Elia Kazan shows up playing a small part as one of the bandmembers.

Released just three weeks before the beginning of World War II, it provides a snapshot of how the Depression and the era of the gangster were receding into memory just as an age of optimism was beginning that would go on hiatus during the war effort, and restart and peak after the war was over. Great atmosphere and great acting - highly recommended.

A real mish-mash of a movie which within its sub-90 minute running time contains enough characters and plot-lines to carry at least three films.

It starts off straightforwardly enough as talented pianist Richard Whorf's Jigger character puts together with his mates a hot swinging band who promptly hit the road looking for a break. Included in their ranks are Priscilla Lane as their vivacious girl-singer, her errant husband, trumpeter Jack Carson and mile-a-minute clarinettist Elia Kazan.

So it rolls along for the first third like a good-time, grown-up Rooney and Garland feature until, that is, the band crosses paths with escaped gangster Lloyd Nolan, who after initially repaying their collective kindness by robbing them of the little money they have, later relents and promises them a gig at his old haunt, where he reunites with his old flame Betty Field, shifty accomplice Sam and sad-sack drunken barman Brad, none of whom were expecting or are exactly appreciative of his return.

After Field tries and fails to lure Nolan back she eventually settles on Whorf and entices him away with her to the big city where he gets a job in a chintzy, fancy-dan band, all dress-suits and shiny shoes but who play the most appalling music, indeed I still can't decide whether the band's featured number "Sez You, Sez Me" is deliberately awful just to highlight how low Jigger has sunk, but believe me, it's about the worst musical number I've ever heard in a vintage Hollywood feature.

Anyway, there are a number of unlikely twists and turns from there till the end, taking in murder, domestic tragedy, a fist-fight and an automobile smash before the film leaves you breathlessly back where it started as if nothing had happened in between.

Director Anatole Litvak just about prevents the whole thing from going off the rails pretty much by just ploughing on regardless. Don Siegel contributes the innovative montage sequences, a typical Litvak trait, although he does overdo them a little this time. You also have to excuse or at least accept some un-P. C. treatment of a partially disabled character but overall, despite having more crossing-points than the New York metro, I was won over in the end by the movie's energy and drive.

I liked Whorf, an actor I've not come across before, who comes over like a cross between Dick Powell and Alan Ladd, which is exactly what his part demands, Lane brings her customary brightness and can hold a tune too while Field makes a good impression as the gangster's moll / femme fatale of the piece.

Best known today for containing the Oscar-nominated title song written by Harold Arlen - Johnny Mercer (and that one comic-clinker number apart, the music is excellent throughout) this curate's egg of a musical/gangster/noir movie is worth delving into.

This film stars mostly second and third-tier actors from Warner Brothers. Familiar actors like Jack Carson, Priscilla Lane, Lloyd Nolan and Wallace Ford are here, but there is also a starring role by the relatively unknown Richard Whorf as well as a supporting role by Elia Kazan--before he made a REAL name for himself as a director. And while none of these folks are huge stars, they do a fine job and the film has the usual high quality and polish you'd expect from the studio.

This film is sort of like a fairy tale about a group of musicians who love Blues, though it's NOT exactly the same style you'd find in Black America--it's more like a big-band/Hollywood idea of the Blues! It's filled with various clichés (such as the BAD girl who might break up the band) but because it's made so well and the music quite enjoyable, it's still worth seeing. Just be sure you aren't looking for THE Blues! Not great but for old movie fans (like myself), it's worth seeing.

"Blues in the Night" from 1941 is an intense noir directed by Anatole Litvak. The stars are Richard Whorf, Lloyd Nolan, Howard da Silva, Priscilla Lane, Betty Field, Jack Carson, Elia Kazan, and Wallace Ford.

"Jigger' Lane (Whorf), an excellent pianist, puts a band together consisting of Leo (Carson) who plays the trumpet, his wife "Character" (Lane), a singer, and two other musicians, Nickie, and Peppi. These are all musicians dedicated to performing the real New Orleans blues.

They travel by sneaking into boxcars. On one of their trips they meet Del Davis, (Nolan) a gangster. Del has a job for him in New Jersey at a club he owns.

That's where the trouble begins. Powell falls for a good-time girl, Kay Grant (Field), though he drops her when he finds out Character is pregnant.

"Jigger" decides to make Kay the replacement singer since Character is told she can't work. They wind up taking off together. By the time the rest of the band locates him, Jigger's in rough shape and has to enter a mental hospital.

"Blues in the Night" is a turgid drama with a highly dramatic ending. The performances are all good. Field pulls out all the stops as Kay, and Lloyd Nolan is an effective tough guy. Howard da Silva and Wallace Ford are on hand giving sympathetic performances.

The brilliant director and controversial figure Elia Kazan only has seven acting credits listed. Here he's an enthusiastic band member .

The music, with the exception of an awful number at a club where Jigger plays the piano, is fantastic, with some great trumpet playing, though the musician is uncredited.

The song "The Man That Got Away" was written for this film. Harold Arlen didn't like the Johnny Mercer lyrics; some time later, he gave the song to Ira Gershwin to add the lyrics.

This fast-moving film is not at all typical of most musicals of the period. Jazz musicians, gangsters, stool pigeons, and canaries populate Anatole Litvak's interesting -- and little seen -- story of a pianist who tragically attempts to transform an off-key singer (Betty Field, over-the-top and enjoyable as all get-out) to replace the pregnant vocalist (Priscilla Lane). All of the performances are interesting (Lloyd Nolan, especially), and the face-off between Lane and Field is worth a look. Highly recommended -- if you can find it.