Wenn die Nacht anbricht

Jacques Tourneur used his vast reserves of creativity to turn small-budget films into fascinating movie-going experiences. If "Out of the Past" is one of the best films noir to be released in the 1940s, then "Nightfall" must be one of the best from the succeeding decade.

Aldo Ray plays James Vanning, who, with his doctor friend Edward Gurston (Frank Albertson), finds himself in the wrong place at the wrong time and ends up knowing the whereabouts of a bag of stolen money, wanted mightily by two bank robbers (one played with droll relish by Brian Keith). Fate, always a principal character in any film noir, brings James together with Marie Gardner (an impossibly young Anne Bancroft), a fashion model who becomes his girl Friday. Meanwhile, an insurance investigator (James Gregory) working on behalf of the robbed bank has James's number and comes calling. All of these characters finally collide in a memorable and rather grisly ending.

"Nightfall" is tremendously stylish and playful. It very much resembles Tourneur's earlier noir, "Out of the Past," in its thesis that a man can run but never hide from his past. But it also reminded me of "On Dangerous Ground," Nicholas Ray's strange offering from 1952, in its juxtaposition of a shadow-filled urban environment filled with anonymous (and perhaps dangerous) strangers with the wide open (and no less frightening) spaces of the country, where anything can happen and no one will know. I don't know if Aldo Ray was considered a good actor at the time, but he does a terrific job here -- who better to play an American everyman caught up in a sticky web than this all-American jock of an actor? He and Bancroft sizzle in their scenes together, and one of the movie's highlights comes when they are racing away from one of Bancroft's fashion shows with the bad guys in hot pursuit, and Ray, frustrated by the fact that Bancroft can't run in the impractical gown she was just modeling, picks her up and runs with her into the safety of a cab, after which she leans against him and says, "You're the most wanted man I know." This scene and line got laughs and applause at the screening I attended, but you could tell that people were laughing with the film and not at it.

This film is one of the highlights of the noir genre, and I highly recommend catching it if you get a chance.

Grade: A

There's little pretense in "Nightfalls;" it's made on a small budget and is only intended as a somewhat artful entertainment. And, in this, it succeeds.

Perhaps what's most remarkable about the film is its several expressions of affection. Remember that? If it's non-existent on TV, it's also extremely rare in movies that don't fit the romantic comedy genre, where it can occasionally sneak in today, and was far more common in the 1930s and 1940s.

Here it gets play in the budding relationship between Vanning (Aldo Rey) and Marie Gardner (Ann Bancroft), but also in the marriage of Ben (James Gregory) and Laura (Jocelyn Brando). It also seems to appear in the longtime friendship between Vanning and his old doctor buddy, whose younger wife he's close friends with.

How does this exceptional quality show? Mainly in Rey's open & engaging smiles when he's in the presence of Bancroft. Although it's Bancroft who is actually conveying & delivering the most and brightest affection, it's most noteworthy in Vanning, simply because he's male. Is it his virility and gruff voice that allows this unusual expressiveness? No, I think it's rather that Rey is not your typical leading actor, nor is Tourneur your typical male director, and that affection is hardly foreign to their lives. In fact, it may be prized by both, unintentionally in the former and intentionally in the latter, which is why it's not excised from the script.

In the case of Ben & Laura, the affection seems inherent in what appears to be a much more equal relationship than is generally shown on screen, especially in the film noir genre. The typical devoted, clingy, and overwrought detective's wife is expelled. Laura is fully involved (from home) in his investigation and is updated daily on the latest clues and findings. It's refreshingly adult, and highly welcomed, as is the affection the two radiate.

But "Nightfall's" interest in affection doesn't end here--not without an example of its opposite in the two gangsters. The psycho-killer partner very convincingly pleads his profound attachment to his boss, but only as a deadly maneuver with his life on the line. This one-way, "sincerely" expressed affection is only effective because encapsulated and final, and because the top dog is "soft." But not all "suckers" lose, though, as "Nightfall" amply points out.

David Goodis' pulpy novel becomes exciting, well-cast and acted crime-drama, peculiarly titled since most of the action takes place in the snow-covered mountains of Wyoming (perhaps "Snowfall" would've been more apropos). Two innocent campers run violently afoul of two trigger-happy bank-robbers, with 350 G's getting lost in the frost. Hollywood never quite knew what to do with Aldo Ray: polite and beaming (like an overgrown Boy Scout), Ray's ingratiating manner and wobbly, scratchy voice made him difficult to type-cast in the 1950s. He's just right here, playing tough guy up against cold-hearted Brian Keith and buddy/big brother/love-interest to model Anne Bancroft, who gets caught in this crime web and yet doesn't seem to mind. Despite a sluggish start and a few details that don't come together (such as why the crooks' car runs off the road in Wyoming, or why the two bank-robbers don't follow Aldo Ray when he runs through the river with the satchel of loot), director Jacques Tourneur handles the criss-crossing plot with buttery ease. Add in some amusing parallels to the later "Fargo" and you've got the makings of a cult classic, one that Columbia Pictures rarely revives. *** from ****

Nightfall is directed by Jacques Tourneur and adapted to screenplay by Stirling Silliphant from David Goodis' novel. It stars Aldo Ray, Brian Keith, Rudy Bond, James Gregory and Anne Bancroft. Music is by George Duning and cinematography by Burnett Guffey.

A pretty model, an insurance investigator, two thugs, an innocent man on the run and a bag of stolen money buried out in the Wyoming snow. Destiny awaits with devilish glee.

It resembles the earlier Tourneur classic Out of the Past, so loses a bit of freshness, it hinges on a major contrivance involving the bag of money and it's more blanc-noir than film noir, but Nightfall rounds out as being a well executed paranoid thriller. Pulling it into the film noir universe is the protagonist played by Aldo Ray (a mighty physical presence), he's the victim of mischances and coincidences, his situation worsening because of paranoia and the inability to comprehend how the vagaries of fate have put him into a life and death predicament. With Tourneur using a flashback structure to dizzy up the story and Guffey operating on high contrast for imagery, film doesn't lack for atmospheric fret, but having held the audience in a grip, the makers fail to deliver a satisfactory ending worthy of the build up. Though it's noted that a pretty gruesome death does precede the outcome.

As has been noted by many observers, the interesting trick here is that Ray's man on the run is exposed and in real harms way when in the brightly lit wilderness, his safety net comes via the dark shadowy streets and bars. This two-fold setting allows Tourneur and Guffey to craft some terrific compositions to frame the characters. These characters are always interesting, the thugs played by Keith & Bond are unusual because they need the help of Ray's protagonist, thus having to rein in murderous tendencies, Gregory's investigator is like an impartial observer on the periphery and Bancroft's babe starts out cold but becomes a woman prepared to go on the lam with a guy who clearly has issues to be resolved! All are well delineated. Ultimately, and rightly so, it's Ray's movie, his Vanning character is a haunted figure, the world weighing heavily on his huge gait, with gravel in voice and bemusement in eyes, it's a true film noir character that is excellently portrayed.

Interesting if a mixed bag, Nightfall is however comfortably recommended to those interested in noir cinema. 7/10

There were a few reasons for wanting to see 'Nightfall'. The premise did intrigue, and film noir-type films are right up my street. That it was directed by Jacques Tourneur was also a plus, being one of many people who loves 'Out of the Past'. Have always loved Anne Bancroft ever since 'The Miracle Worker', the film and her performance in that are still powerful. Was really hoping that it would live up to its potential rather than being another potential waste.

Seeing it, 'Nightfall' doesn't live up to full potential and could have been better. It though is not a waste, despite the story being wanting and the lead performance being uneven 'Nightfall' is compensated hugely by the production values, atmosphere and the rest of the cast. It is fun and atmospheric, though falls short of greatness. So another one of those recommended films, while not raving about it or rating it an absolute essential.

'Nightfall' has a lot of good things. It looks great for one thing, it is really amazing that it is low budget when it looks better than a lot of films made on a higher budget. Especially striking is the photography, which is at its best pretty exquisite and creates a truly haunting atmosphere. The locations are beautifully used too, especially the snow-covered Wyoming. Tourneur's direction impresses in a lot of areas, he always had a keen eye for creating atmosphere that was evident throughout 'Out of the Past' and evident here too. He succeeds too in allowing the film to move quickly in general. The score is suitably ominous.

Enough of the script is thought provoking and taut and the story engrosses more often than not and has some nice suspense. The climax is very memorable and tensely staged, while the murder scene absolutely chills. Most of the cast are strong, especially alluring Bancroft as the film's most interesting character and Brian Keith is a good unsettling presence too. She and Aldo Ray have a good sensual yet uneasy chemistry together that really worked with the film.

Did think however that 'Nightfall' could have been better. While there is definitely atmosphere and while it didn't bore me, the story (as well as not being a particularly unique one on the whole) is on the implausible side at points and is too unlikely coincidence heavy. It is especially not too easy to swallow towards the end. The script generally could have been tighter, early on is a little talky.

Opinions on Ray's performance here are rather mixed, my feelings on him personally are pretty mixed too. He is effective enough later on but he starts wooden and it takes a while for him to get properly comfortable in a role that could have been better fleshed out.

Concluding, not great but worth watching. 7/10.