Nocturne

Tough and dogged detective George Raft investigates a composer's death. It was ruled a suicide but Raft doesn't buy it. Despite being ordered off the case, he continues to look into it and tracks down some of the women the composer had "relationships" with.

George Raft gets a lot of flack for being stiff or playing the same role over and over, but I happen to like most of his movies that I've seen. He had no pretenses about being a Shakespearean actor. He knew what he was good at playing and worked with it quite well. His earlier WB successes in gangster movies and the like were always fun. Here he's playing a film noir detective, which isn't too far removed from those older roles come to think of it. He's quick with a snappy comeback and doesn't back down from anybody. It's a part Raft plays with ease but that shouldn't be taken as a put-down, as is often the case. Several tough female roles in this one. Lynn Bari and Virginia Huston (in her film debut) get the juiciest parts but honorable mentions should go to Myrna Dell as a wisecracking maid and Mabel Paige as Raft's mom, who helps him with his investigation.

Good script with some punchy noir lines, interesting characters, and a good ending. A nice fight scene, too. By the way, the film's title refers to the song the composer writes for his latest conquest. The guy wrote songs for all the women he screwed. They had a classier kind of douchebag in the old days, I guess.

Nocturne is certainly not in the 1st rank of 40's film noir movies but nevertheless has a few things going for it.....the photography, some funny lines ("one more crack like that and I'll wrap the piano around your neck"), and for me, Lynn Bari. I always thought she was ( like Hillary Brooke, Lenore Aubert, Brenda Joyce, and a few others of the 40's) an underrated, very beautiful and sophisticated actress ( of a type that no longer exists in films). Of course no-one is going to confuse George Raft with Lawrence Olivier but the rest of the cast, particularly Joe Pevney (also good in "Body and Soul") does a professional job.and makes the film worthwhile.

Nocturne is directed by Edwin L. Marin and adapted to screenplay by Jonathan Latimer from a story written by Roland Brown and Frank Fenton. It stars George Raft, Lynn Bari, Virginia Huston, Joseph Pevney, Myrna Dell and Edward Ashley. Music is by Leigh Harline and cinematography by Harry J. Wild.

When Hollywood composer Keith Vincent (Ashley) is found dead in his swanky abode, the police feel it is a clear case of suicide. But there is one exception, Joe Warne (Raft), who feels it just doesn't add up. When it becomes apparent that any number of lady friends of the composer could have killed him, Joe drives himself onwards in pursuit of the truth.

Comfort food noir. Nocturne is a Los Angeles based detective story that doffs its cap towards Otto Preminger's far superior "Laura". Raft is in suitably understated hard-bitten mode as Joe Warne risks more than just the wrath of his bosses when he becomes obsessed with finding a woman called Dolores. He is convinced she has committed a murder and the gap on the wall where a row of ladies photographs hang only fuels his obsession still further.

As director Marin ("Johnny Angel") balances the opposing lifestyles of the principal players, taking us for a trip through the varying haunts of Los Angeles, the dialogue is pungent enough to overcome the failings of the script. A script evidently tampered with by Raft and leading to a rushed and not entirely satisfying finale. But as a mystery it works well enough as the acid tongued dames are dangled in the narrative to keep the viewer as interested as our intrepid detective is.

Marin does a grand job of mixing suspense with action, even opening the picture with a doozy of a plot set-up that is born out by some lovely fluid camera work, and while Wild's ("Murder, My Sweet") photography and Harline's music barely break the boundaries of mood accentuation, the tech credits are admirably unfurled to ensure the picture remains in credit. It helps that the support cast is a roll call of strong "B" movie players, and Raft fans get good value from an actor who was desperately trying to get away from the thuggish characters he was by then becoming known for. 7/10

This neat little noir thriller is a rare find. The dialog is witty and clever. The acting, mainly by a second-line cast, is better than in many bigger budget movies. I was especially impressed by Myrna Dell's performance. Plus she had some of the best lines in the flick, i.e., "He was a lady killer. But don't get any ideas. I ain't no lady." Another line, "Who ever heard of a detective wearing a hat," is uttered by a dance hostess instructing Dt. Joe Warner (George Raft) who is trying to squeeze information out of her about the suicide (the audience knows it is murder)of composer Keith Vincent (Edward Ashley). Such witticisms are scattered throughout the film.

Many critics rate George Raft's performance in "Nocturne" as poor at best. But actually he plays the part fairly well as the director, producer, and writers intended for Joe Warner to be. He is a mama's boy (40's and still living with mom). He is definitely a Hitchcockian lead character - producer Joan Harrison comes in to play here. Hitchcock would take this image to its utmost realization with Norman Bates. As critics have pointed out in other IMDb reviews Joe Warner's mom (Mabel Paige) has some of the best scenes in the movie. Since he is living at home and obviously supported by his mother, Joe can afford to indulge in going his own way. He does not have a family to support. One reason he is so interested in the case is his love for music. He and his mom both play piano. In one scene he talks about spending much of his spare time attending the opera. So music and murder intertwine. "Nocturne" is appropriate as a title, not only because it is the name of the murdered's composer last composition which he had not quite finished when shot to death, but nocturne also connotes L.A. nightlife where much of the action in the film takes place. Nocturne can also be used to describe the tangled minds of many of the frequenters of the clubs and hang-outs in the film.

Some critics have mentioned that no answer is given as to why the womanizing murdered composer called all his girlfriends Delores. The writers were attempting to point out that like most womanizers, Keith Vincent was only interested in women as sex objects. A woman had no existence in his mind beyond her genitalia. He wanted sexual conquest, not commitment or any kind of romantic relationship. So to him all women had the same name. Why he chose Delores is left to the viewer to decide. Again, the influence of Joan Harrison manifests itself. Hitchcock left much to the viewer's imagination. How did James Stewart get off the roof from which he was dangling in "Vertigo?"

If you have not seen "Nocturne," you are in for a treat, one of the lost treasures of the 1940's.

From the initial scene chronicling the murder central to the plot of Nocturne as seen from the killer's vantage point, this movie has much to sustain the viewer's interest. Whenever a stock line or situation makes you feel this is a typical hardboiled cop flick, another plot twist or cinemotographic trick changes your mind. Portions of the movie shot after hours in a deserted photographic studio remind the viewer of Harrison's Hitchcockian associations with palpable suspense. George Raft shows surprising likeability as the lead, and Lynn Bari lends sparky support as one of the ranks of the victim's past conquests-or was she?-who just might hold a clue to the identity of the deadly Dolores. If you have a chance to see this film, grab it-although it was a successful and high grossing film at the time of its release in 1946, it is extremely difficult to rent, view, or purchase today. And the music, so evocative of the forties' nightclub allure, is great.