Schritte in der Nacht

Based on a true 1946 Hollywood Police Department case, "He Walked By Night" is an early attempt at a "police procedural" film. It has a semi-documentary look combined with many of the conventions of film noir (thanks partly to cinematographer John Alton). Many of the outside scenes were filmed in or around actual locations. Richard Basehart plays a loner who is well-versed in electronic technology, guns, and police procedures. He's able to stay one step ahead of the cops because his paranoia and attention to detail keep him in a constant state of alert. It's also helpful that he listens in with his police-band radio. For a time he confounds the Hollywood cops because he changes his modus operandi. He begins as a break-in artist who steals electronic equipment, but when he kills a suspicious young policeman and loses some of his tools, he turns to armed robbery of liquor stores. Nobody can find him because he travels through Los Angeles in its underground storm drains, where he has hidden stashes of guns and other survival equipment. We also follow the cops as they make use of whatever little information they're able to gather on Basehart's character, and slowly they do close in after several missed opportunities and track the killer into the storm drains, where the play of light and shadow really takes over. One of the cops in "He Walked By Night" is played by Jack Webb, and there's no question he got the inspiration for 'Dragnet" from this film. For starters, "He Walked By Night" begins with a sky pan of Los Angeles and scenes of everyday Hollywood while the narrator gives a kind of "this is the city" speech. The police scenes are often very quotidian (sometimes to the point of being overly detailed), with cops tossing in small talk like "how's the missus? glad to hear it" before they ask other questions. Much of the pacing, attitude and overall feel of "Dragnet," which began as a radio show a year after this film and then moved to TV in 1952, is already here. The final scene in Los Angeles' storm drains ("seven hundred miles of hidden highways," according to the narrator) provides probably this film's most memorable images. Its set-up and execution are remarkably similar to Orson Wells being chased through the sewers of Vienna in Carol Reed's "The Third Man," which was filmed a year later and likely inspired by "He Walked By Night." And who knows, it might also have given a few ideas to the makers of "Them" a couple of years later when they revisited the L.A. storm drains with their giant ants. Ultimately, Basehart's character remains an enigma. We never learn that much about him. "He Walked By Night" isn't a great film, but it's an enjoyable look at postwar police work and primitive forensics.

As related on http://www.adam-12.com/webb.htm ...

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In 1949, Jack landed the role of Lt. Lee Jones in the film

"He walked by Night." After meeting LAPD Sgt. Marty Wynn,

a technical advisor for the show, Jack got the idea to develop

Dragnet after being invited to review LAPD case files.

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Several elements associated with _Dragnet_ appear already in _He Walked_: not only the stolid narration but also the devotion of time to routine and even futile work, the interviewing of oddballs, the explication of technology, and the incidental chit-chat about the family.

One interesting point is that we never get to find out the killer's motive: even at the expense of the audience's aesthetic satisfaction, the killer's point of view is denied to us. The only lessons we can learn from the movie are the lessons that the police learn.

Watching this movie, which is very good if dated, I thought of The Third Man, too. But it was made BEFORE the Carol Reed film, so can hardly be said to have borrowed heavily from it. In fact, I wondered if Reed had been influenced by Werker! The Third Man is an incomparably better film, one of my Desert Island movies. But He Walked By Night was a competent and at times really interesting flick. The scene where the robbery victims collaborate on building the villain's face was excellent.

Another enjoyable aspect was spotting so many familiar faces. I caught a very brief glimpse of Kenneth Tobey and half a dozen other performers whose faces, if not their names, were very familiar . . . like the nutty lady talking to "milkman" Scott Brady.

So, I have this film to thank for the series "Dragnet."

Certainly, "Law & Order" also had its start with this wonderful "B" movie. The production is quite good, with excellent performances, and great location filming.

Many users have questioned this film's technique, implying it is hokey or cliché. That is certainly missing the point. THIS FILM STARTED the whole genre, in a way. And, keeping in mind that this was not produced by a major studio, I am quite satisfied with its quality.

"Film noir"? Perhaps......although it shares the look, more than the concept of that genre.

I recommend this film.

Alone in a cheap motor court with only a mutt dog and a squirrelly landlady, Roy Martin (Richard Basehart) lives an underground existence. He's got no friends, no girl, no job, yet he's one of the more fascinating creations in the noir pantheon. Just when you think he's out of tricks, he pulls out a shotgun as the cops close in. He's hidden one deep inside a storm drain for an emergency like this. Now we know what he does with his time-- he's a one-man army against the machinery of modern society.

But wait, he's not against the plug-in kind of machinery. Martin's a closet genius at modifying the most sophisticated electronics, an untrained innovator with just that kind of intelligence. Does he do it for money-- it's hard to tell. We do know he's not above presenting someone else's work as his own. However, that demeaning aspect may simply be the script complying with Production Code requirements. Businessman Whit Bissell would like to partner up with the mystery man's skills, offering a research laboratory in return. But when Martin refuses with a knowing smile, we know he's got his own drummer. And, we also know that anyone who gets in the way of that drummer turns the science whiz into a cold-blooded killer.

At first I thought it a mistake that the screenplay didn't fill in more of Martin's personal story, something that might get a handle on his extreme behavior. But on second thought, better to leave him a mystery man of rare and unfeeling talents. That way, we're free to speculate on a background instead of having to settle for some half-baked Freudianism circa 1948. The character strikes me as someone who has chosen to live outside normal bounds as a challenge to his ingenuity and resourcefulness, both of which he possesses in spades.

And it's that, I think, which makes him an unusual crime figure. Time and again, he uses those qualities to defeat the relentless machinery of law enforcement, shown in its many scientific and professional phases. Basehart the actor manages a number of subtle shadings conveying a depth of character not shown by the impersonal forces of law and order. Not that the screenplay doesn't try to humanize the cops-- that's the point of the convalescent hospital scene and the crime lab joshing. Rather, for the professionals, it's a job. For Martin, however, it's something deeper, more interesting, but not necessarily admirable.

The movie itself has an uncredited Anthony Mann written all over it, especially the scenes with Basehart. Director Mann, cameraman John Alton, and scripters Higgins and Essex are responsible, I expect, for pointing away from the rather dull procedures onto the noirish atmosphere of outlaw alienation. Of course, bit player Jack Webb saw how popular such procedures could be for a TV audience and spun them off into one of the 1950's most successful series. But it's the underground man Roy Martin, alone with his mutt dog and inner demons that makes up one of noir's most fascinating crime figures. And on a final note of irony, notice how close Martin comes to a last minute escape were it not for that diabolical god of the noir universe-- the Hand of Fate.