El demonio de la noche

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.

Not as good as hyped, this film noir, however, is still interesting and suspenseful. It's full of good film noir photography with lots of nighttime shots with many shadows, not only outdoors but indoors and even in the Los Angeles sewer system! I recommended getting the Anthony Mann DVD pack so you get the best picture quality. With all that darkness, you need to see this on a good transfer.

Mann is an uncredited director for this film, or at least a co-director. John Alton, the cinematographer who worked with him on a couple of other film noirs, did the camera-work and he was one of the best.

Richard Basehart plays a convincing no-conscience killer. He as very interesting to watch all the way through. It also was entertaining to see a young Jack Webb play a forensics-type cop. This was his pre-Dragnet television show period but this was a good vehicle for his cop work. In fact, this movie even had a Dragnet feel to it with some kooky minor characters, such as the lady talking to the milkman/cop.

This movie dragged a big in the middle but overall was entertaining enough to recommend, especially to film noir fans. Just make sure you see this with a good print.

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

• quote -

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.

• end quote -

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.

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.

This is a true story...

It's known to the Police Department of one of our largest cities as the most difficult homicide case in its experience. Principally because of the diabolical cleverness, intelligence and cunning of a completely unknown killer.....The record is set down here factually-as it happened. Only the names have been changed to protect the innocent.

Cracking little noir picture this one. Richard Baseheart is Davis Morgan, a cold and calculated thief and murderer. He is not only unknown to the police, but also to the Los Angeles underworld. Something which made him a terrifying ghost on the streets. Based on the real life case of cop-killer come thief Erwin Walker, who in 1946 struck terror into the heart of LA, He Walked By Night zips along at a frenetic pace but maintains all the darkness requisites of the Film Noir genre. Directed by Alfred Walker (aided by one uncredited Anthony Mann) and also starring Jack Webb (who used the piece as inspiration for the popular "Dragnet" TV series), the picture has excellent use of shadows and a brilliant finale down in the Los Angeles drainage system. Where the sound of guns and running feet is just ferocious.

Baseheart is suitably chilling as a man coming unhinged by the day, whilst a home surgery sequence shows Baseheart to have had no small amount of ability. It's notable with Morgan's character that it's people he just doesn't like, there's a very telling scene with his dog that is sweet but at the same time saying so much about the man himself. This film reminded me very much of Edward Dmytryk's similarly fine 1952 film, The Sniper. So much so I'd say that as a double bill they be perfect for each other. With added plot worth in the form of early police forensics (check out the photo fit technique) and a largely unknown support cast adding a raw reality to proceedings, He Walked By Night comes highly recommended to fans of the Noir and Crime genres. 8/10