Night World

Boris Karloff runs a nightclub, unaware that his wife and one of his employees keep ducking into a closet for some reason ... wink wink, nod nod. Lew Ayres plays a drunken customer; his mother (Hedda Hopper) killed his father because she thought he was fooling around. Mae Clarke, who sings/dances at the nightclub, takes a shine to Ayres, which ticks off her current suitor (George Raft). There is a running gag involving the doorman (Clarence Muse) trying to phone his wife, who has been hospitalized.

This is essentially it. The film takes place over a few nights, so don't expect a soap opera. Jack LaRue shows up as a torpedo, Robert Emmett O'Connor plays a cop for the one millionth time, Byron Foulger plays a really, really, really gay customer, and Louise Beavers is onscreen for all of about five seconds.

It's interesting that the New York State censor board ordered some dialogue and scenes removed (notably at the climax), but the lines and scenes were intact in the version I saw.

Clarke is perky, adorable, and looks very cute in shorts. Muse comes off best as the most tragic figure in the film. The ending is crazy. Worth a look.

"Night World" is a short-ish film from Universal about a night in the Big Apple during prohibition, centering on a night club, Happys, run by, of all people, Boris Karloff.

This is the kind of rough film one associates with Warner Brothers, but instead it's the horror film studio of Universal.

We have a gay guy in the mens room, the depressed son of a man (Lew Ayres) whose father was just murdered by his mother (Hedda Hopper) and acquitted, the girlfriend of the murdered man telling his son what his mother is really like, a performer, Ruth (Mae Clarke) at the club trying to comfort him, a tough guy (George Raft) trying to pick up Ruth, the owner's (Karloff) wife being unfaithful to him, a shootout, and a philosophical doorman, Clarence Muse. Muse was a very accomplished black actor; I highly recommend reading his bio on IMDb.

Busby Berkeley did the choreography, utilizing the overhead camera to show his various patterns - not that the actual nightclub audience could see them. And the movie doesn't hide the fact that several of these chorines fool around.

Everyone is very good, with Muse, Clarke, and Ayres standouts.

If you want to see a racy precode, this is it.

Poor Mae Clark was in loads of films yet is most known for getting a grapefruit in the kisser from James Cagney in 'Public Enemy.' So it's nice to see her in a part with a few more brains. She is just part of an odd mixed-salad of a cast. Some, like Boris Karloff as an awkwardly gangly night-club owner, and Bert Roach as a silly drunk, seem to be in strange waters. Others, like Lew Ayers and George Raft, get roles typical of their young careers. Though she has only one scene in this very short film, Hedda Hopper steals the show as the world's worst mother.

The only character to really warm to is The Doorman, Tim Washington (Clarence Muse). He is clearly in a horrible situation which those around pity at best and ignore at worst. So many African-American roles in the white films of the '30s are painful to watch, but Muse brings something special to this thankless part.

Cinematographer Merritt Gerstad shows an inventive eye both in the opening montage and in scenes that would otherwise be nothing to look at. And of course, we get brief Busby Berkeley numbers, which would never really work in a night club, but allowances must be made for Hollywood.

I had never seen this film and Lew Ayres was a friend of mine years ago and came to lecture to my film class at the University of Arizona ca. 1975. He was a deeply religious man, a conscientious objector during World War II and ambulance driver and former husband of Ginger Rogers and Lola Lane of the fabulous Lane Sisters. He said that the breakup of the marriage with Ginger was his fault because she got more famous than he and he couldn't deal with it. He was a thoughtful, intelligent and decent guy and very gentle in real life but he caught fire on screen or in live performance. When he WAS acting, he was all show business and you needed to get out of the way of him because of the intensity of what he was doing. Then when he was done and the public spotlight would go away, he'd return to being the great guy he was. I liked him enormously and he had just finished directing his religious film Altars of the World about his trips all over the world to study various religions and their belief in a guiding spirit. I'm not a religious guy but he believed in treating everyone with the spirit that he had found and that feeling just made him nice to be around. This movie features also a winning performance from Mae Clarke who shows that she can actually dance pretty well. She was a natural actress, not a raving beauty, but someone who radiated attractiveness from deep within and it spilled out onto the screen. She should have been much more famous. Pity she's known for getting that grapefruit shoved in her face by Cagney because here she delivers a solid and winning performance. George Raft appears briefly and does that gangster coin flipping stuff that he would do so much in his forties movies. Clarence Muse is absolutely wonderful as the black doorman of Happy's Club and projects a terrific emotional range, conveying a good bit of what it must have really been like to be black back then in a white man's world.. The screenplay is solid and there's a Busby Berkeley dance number. It's small scale and lacks the wonder of his work at Warner Brothers or the amazing color kaleidoscope he did at Fox in The Gang's All Here in 1943--don't miss that one!! But it's still a fun interlude to see Busby in his early period a little bit post Whoopee and Palmy Days. There's also Boris Karloff, fresh from his triumph as the Frankenstein monster the year before and one of the characters actually makes an inside joke in the film, referring to Frankenstein. Karloff's British accent doesn't quite fit well with the thug part he has to play but he's still pretty effective and Hedda Hopper, later to be a feared gossip columnist who wrote Under Hedda's Hat in syndication everywhere, does a terrific turn as Lew Ayres' murderous mother. All in all it is a night club Grand Hotel with the various problems of many characters, good and bad people, interweaving nicely and very well written. It's a short film so you needn't invest much time but it moves along swiftly and ends with a running gag about Schenectady, New York. I give it seven stars and especially enjoyed seeing Lew Ayres who, if one takes the drinking part away in the film, was essentially playing the man he really was, a highly decent guy who had an up and down career but a career that spanned more than 65 years in the movies and tv and near the end of his life he was playing the older crush of a young Mary Tyler Moore on her tv show and being convincing about it. The man was really special from top to bottom.

Fun, saucy, fast-moving and short, Night World is a neat little movie from the early thirties, before Prohibition was repealed, when Hoover was still in the White House; and with a Depression still new there was yet a Gatsby mood in the cities.

The credits of this movie are unusual. Busby Berkeley did the choreography. Alfred Newman composed what music there is. The cast is oddball for any sort of film, but especially peculiar for this kind: Lew Ayres, Mae Clarke, Boris Karloff, Hedda Hopper, George Raft and Jack La Rue. Director Hobart Henley handles his material extremely well, and gives it pace and energy. There is joy, sadness, corruption, disillusionment and heartbreak in the movie, and the ending is bittersweet but not downbeat.