Al final de la noche

Tom Jordan (David Niven) and his wife Claire (Leslie Caron) attend a party in South America. The Jordans' marriage is on the rocks. President Rivera gets overthrown by the military, but he's missing. Tom is dismissive of the political change until he witnesses a murder in the streets. He finds an injured Rivera in his car. Rivera needs to get out of the country.

I don't buy it. I just don't understand why politically apathetic Tom is willing to risk his life. He seems to completely change over that one murder. I don't buy it. When the boy thing happens, they should dump him ASAP. This is all about motivation and it's not here.

I was attracted to this one by the presence of David Niven, always a plus, and I was not disappointed. This is by no means a great movie but it's a very good one in all departments - script, plot line, tension, character development, acting and cinematography (gloriously crisp b&w). In addition to Niven, as a flawed idealist, there is Leslie Caron as his long- suffering wife, James Robertson Justice as a cynical manager and David Opatoshu as a deposed president. Events circle around a revolution in a fictional South American country, as a couple whose relationship is foundering get involved with the fate of the wounded, deposed president, and try to spirit him out of the country. There is plenty of tension in the escape sequences, as they are hunted by the federates, but we also see developments in the relationship of Niven's and Caron's couple. The film tried to make the point that the complexities of life do not always make for black and white, idealistic choices, that we are at some level all flawed. All in all a very good film that deserves more attention.

Businessman (Niven) and his wife (Caron) are caught in the turmoil of a South American revolution, find themselves helping the overthrown president escape to the border. Civilised drama (as Niven tries to find life's meaing) gets itself tangled in deeper meanings, never quite makes itself clear. Cast tries hard, but the result is no better than fair.

I wasn't really expecting such a heavy drama from Guns of Darkness. In general, I was only aware of Leslie Caron making comedies. This film features life-or-death situations, and it'll keep you on the edge of your seat. Interestingly enough, she didn't have nice things to say about her costar, David Niven, but they had fantastic chemistry together.

The film starts at a high class party for heads of state, in South America. As it nears midnight, the scene cuts between the party and a group of rebels infiltrating the capital and taking over. The president is shot and replaced with a rebellious leader, and the party guests continue celebrating, unaware of what's going on. Married couple Leslie and David have a strained relationship, and we see a realistic and intimate argument after the party's over.

In the morning, David finds the former president, bleeding and close to death, hiding in the back of his car. He agrees to try and smuggle him out of the country to safety. The rest of the movie is a perilous journey as David, Leslie, and David Opatoshu try to make it across the border undetected. Masterfully directed by Anthony Asquith, who knows what to show and what not to show, there are twists and turns around every corner. Violence, betrayal, secrets, and loyalty all come to the forefront. I would definitely recommend this movie if you enjoy the genre. I don't usually watch gritty revolution movies, but even I was riveted.

David Opatoshu as deposed President Rivera in a wing collar and goatee perhaps intentionally resembles Harold Gordon as the hapless Madero in 'Viva Zapata!'; while Derek Godfrey is truly mephistophelian as the suavely menacing, Sorbonne-educated Hernandez in this satisfactory chase drama based on Francis Clifford's 1960 novel 'Act of Mercy' set in the fictional Latin American city of Tribulacion. (The title was changed at the last minute to evoke David Niven's recent hit 'The Guns of Navarone'; which had also featured James Robertson Justice.)

As in Cuba three years earlier, the coup is here depicted as taking place on New Year's Eve; while the leaders of the Khmer Rouge were also educated at the Sorbonne, and the reference to the rough justice meted out in sports arenas anticipates what later happened in Chile.

That Niven & Caron didn't get on during filming probably enhanced the film, along with Robert Krasker's photography, Benjamin Frankel's score and the vintage 1957 Ford County Sedan station wagon in which he initially tries to smuggle Opatoshu out of the country.