La noche eterna

I've never seen the original French film upon which this film was based, but I can tell you I kept waiting for a plot line payoff that never came. It has everything going for it - solid cast giving good believable performances, good direction, even a good speech that Fonda's character delivers from this broken out window as he is under siege by the police that gives us some insight into what it's like for an average guy who has returned home from years of killing and seeing killing in the war expected to pick up where he left off. But ultimately, I never see anything that Fonda's character, factory laborer Joe Adams, has been put through as far as shock or emotional torment or even disillusionment that would justifiably cause him to kill a man. Is Vincent Price's character Maximillian eloquently taunting and creepy? Yes, and in a way that Price excelled at over the years starting in noirs and proceeding on into his horror films. However, at no time does he do anything that would drive anybody to do more than shoo him away or stuff earplugs in their ears or possibly call the ASPCA (You'll have to watch the film to understand this last remark). I'm giving this film a five just for the fact that I believe the production code is the reason any hard edges that seem to be just under the surface never appear. I'm almost positive the script would have gone further if the censors would have allowed it to be so.

The real point of interest to me was the action of the police, who behave a lot like the fascists that Joe Adams spent years fighting in WWII. Sure they have a murderer holed up in his rented room, but he's holding no hostages, they've emptied the building, and still they spray him twice with automatic gunfire unannounced - once from the outside into his window, then from the stairwell into the door. When he pushes a sturdy dresser against the door and they realize they can't force their way in THEN they try talking to Joe, starting with the line "We're not fooling"?? No kidding! After Fonda's speech to the crowd, once the crowd starts voicing their support for Joe and promising financial help with a lawyer the police form a line and practically trample the crowd forcing them out of the street. I don't know if the heavy handedness of the police was something that Litvak wanted the audience to notice, but it was something I noticed.

I'd recommend this one just for the good performances and atmosphere and some imagery you don't see that much in films immediately after WWII, but don't expect something shocking or even interesting to happen just because of all of the talent assembled here.

I don't like remakes--and that is why I waited so long to watch "The Long Night". Originally it was a dandy French film ("Le Jour Se Leve") and I saw no reason to redo the film, as the original was quite good. And, after seeing it, I stick by my original opinion--there just wasn't a need to make this remake. However, I can understand why they made it, as folks in the States back in the 1940s did not watch foreign films--and when they saw this American version, it did seem original. But now with DVDs, Turner Classic Movies and Netflix, you should just stick with "Le Jour Se Leve".

The film is a talky picture about a brooding guy (Henry Fonda), his sweetie-pie (Barbara Bel Geddes) and a completely bizarre blabber-mouth (Vincent Price). Fonda and Bel Geddes are in love but Price is determined to break them up--and push Fonda to the breaking point. The story is told through flashbacks and is similar to the Jean Gabin film--without the film noir camera-work and lighting. Also, the American version comes off as much talkier--much. All in all, not a terrible film at all--but not the 9 that the other film deserved when I rated it a couple years ago.

This is an example of a very BAD remake.Proof positive that great actors and good directors do not necessarily mean good work.You have got to bear in mind that Carné/Prévert's "Le JOur se Lève" was made in 1939 at a time when France was not smiling .The movie was so depressing it was quickly forbidden by the military censorship (see my review of the French film for more details).The movie was an exact reflection of its time.Out of that context it's another melodrama.Besides,deprived

of Prévert's lines -when a poetic dialog is translated into another language,there's always a problem- it loses much of its appeal)

Although one of the best actors in American cinema,Henry Fonda could not succeed in Gabin's plebeian part.Ann Dvorak is the most adequate choice since her swagger imitates Arletty's.

And who could forgive the new ending?

I just have to say... It seems as though every negative comment about this film starts out with "this is a bad REMAKE of..." Surely, I suppose it's nearly impossible to view THE LONG NIGHT as itself when you have already seen Marcel Carne's 1939 flick (and maybe even harder if you have created within yourself a dedication to anything foreign, slightly obscure, or non-Hollywood). The great thing about this movie, if one can get over the remake aspect of it, is that it is truly LOADED with great things! The set design and artwork are fantastic! Tiomkin's music is, once again, a fine creation! Polito's cinematography, camera work, and use of light are brilliant! Sure, the great story is, for the most part, taken from somewhere else, but the screenplay by the great John Wexley is excellent. I might be reading a bit to much into this, but I saw working class heroism, touches of popular justice, and just a hint of bourgeois deceit. The latter showed in the fantastic performance by Vincent Price as his character continued to try to sell a fantasy to Jo Ann (Barbara Bel Geddes) by means of magic and falsehood. All in all, I think this one is just like any good work of art: if you put a little into it, you can get a lot out of it.

A remake of Marcel Carnes French film Le Jour Se Leve, with excellent performancies, Henry Fonda is very good in the leading role and Vincent Price at his smarmiest. Barbara Bel Geddes makes a very good debut as movie actress. The director Anatole Litvak have done the film with great flair, it has a nice feel to it and is interesting and dramatic. I think this film is very underrated and should receive more attention than it does, Sol Politos camerawork is very interesting and give some scenes a claustrophobic feeling with his use of light and shadow. If you like atmospheric, dramatic noir dramas I can recommend this one.