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IMDbPro

Entre la noche y el alba

Título original: Between Midnight and Dawn
  • 1950
  • Approved
  • 1h 29min
CALIFICACIÓN DE IMDb
6.6/10
1.4 k
TU CALIFICACIÓN
Donald Buka, Edmond O'Brien, Gale Robbins, Mark Stevens, and Gale Storm in Entre la noche y el alba (1950)
Prowl car cops on night duty romance a reluctant young woman who works for the department while in danger from a vengeful racketeer.
Reproducir trailer2:21
1 video
44 fotos
AcciónCrimenDramaFilm NoirThriller

Unos policías del turno de noche tienen un romance con una joven renuente mientras está en peligro por un mafioso vengativo.Unos policías del turno de noche tienen un romance con una joven renuente mientras está en peligro por un mafioso vengativo.Unos policías del turno de noche tienen un romance con una joven renuente mientras está en peligro por un mafioso vengativo.

  • Dirección
    • Gordon Douglas
  • Guionistas
    • Eugene Ling
    • Gerald Drayson Adams
    • Leo Katcher
  • Elenco
    • Mark Stevens
    • Edmond O'Brien
    • Gale Storm
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.6/10
    1.4 k
    TU CALIFICACIÓN
    • Dirección
      • Gordon Douglas
    • Guionistas
      • Eugene Ling
      • Gerald Drayson Adams
      • Leo Katcher
    • Elenco
      • Mark Stevens
      • Edmond O'Brien
      • Gale Storm
    • 35Opiniones de los usuarios
    • 18Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Videos1

    Official Trailer
    Trailer 2:21
    Official Trailer

    Fotos44

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    + 38
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    Elenco principal82

    Editar
    Mark Stevens
    Mark Stevens
    • Officer Rocky Barnes
    Edmond O'Brien
    Edmond O'Brien
    • Officer Dan Purvis
    Gale Storm
    Gale Storm
    • Katharine 'Kate' Mallory
    Donald Buka
    Donald Buka
    • Ritchie Garris
    Gale Robbins
    Gale Robbins
    • Terry Romaine
    Anthony Ross
    Anthony Ross
    • Lt. Masterson
    Roland Winters
    Roland Winters
    • Leo Cusick
    Tito Vuolo
    Tito Vuolo
    • Romano
    Grazia Narciso
    • Mrs. Romano
    Madge Blake
    Madge Blake
    • Mrs. Mallory
    Lora Lee Michel
    Lora Lee Michel
    • Kathy Blake
    John Butler
    John Butler
    • Drunk
    • (escenas eliminadas)
    Dudley Dickerson
    Dudley Dickerson
    • Garbage Man
    • (escenas eliminadas)
    Cliff Bailey
    • Sergeant Bailey
    • (sin créditos)
    Tony Barr
    • Harry Yost
    • (sin créditos)
    Robert Bice
    Robert Bice
    • Detective
    • (sin créditos)
    Symona Boniface
    Symona Boniface
    • Minor Role
    • (sin créditos)
    Chet Brandenburg
    Chet Brandenburg
    • Pedestrian
    • (sin créditos)
    • Dirección
      • Gordon Douglas
    • Guionistas
      • Eugene Ling
      • Gerald Drayson Adams
      • Leo Katcher
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios35

    6.61.4K
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    Opiniones destacadas

    5arthur_tafero

    Between Midnight and Dawn - Uneven Noir

    Ed O'Brien and Mark Steven are cop buddies. Gale Storm (whom I had a crush on as a child) plays a female police dispatcher (I think she is miscast here). The film revolves around these three main characters and a lowlife sleazeball who runs the rackets in the city. Another lowlife tries to horn in on Mr. Local Sleaze, but gets dispatched with efficiency by the kill-happy thug. When convicted in court and sentenced to fry, he vows revenge on the two cops. Margie, I mean Gail Storm, logically falls for Mark Stevens, who is slimmer and better looking than O'Brien. And the film is fine up to that point. Then it kind of veers off in undesirable directions and I am sure audiences were disappointed with the final half of the film. I will let you be the judge.
    6boblipton

    Just An Ordinary Man

    Mark Stevens and Edmond O'Brien are buddies from the war. Now they are cops together in the same patrol car. When Gale Storm comes into their lives, it seems that they might fight, but O'Brien bows out gracefully. This is, until hoodlum Donald Buka escapes from prison and kills Stevens.

    One of the reasons that O'Brien is so good in his B pictures around the end of the fifth decade of the 20th Century is that he looks like an ordinary Joe: all right looking, but nothing to right home about, and he could afford to take off a few pounds. For anyone else, this would have meant supporting roles, and he did a lot of those. However, he also played leads in noirs and cop movies like this one, and even westerns. That's because he typified how American men thought of themselves: ordinary people, yeah, but capable of important things. To watch his descent into brutality after Stevens' death here, even with the Production Code still in force, is a fine bit of acting.
    7Rathko

    Noir gets a Sense of Humour

    An American Cinematheque presentation at The Egyptian.

    B-movie, second-feature that plays as a cross between classic noir and serial melodrama. As such, it's easy to see how it's often credited with being a predecessor of the police procedural.

    Stevens and O'Brian play two likable LAPD patrol cops. Gale Storm the wholesome new dispatch girl who keeps their attention at night. Most of the movie deals with the growing and affectionately written romance between Stevens and Storm, making the whole thing seem at times like a vintage episode of 'Payton Place'. But make no mistake, we're in noir territory, and it's only a matter of time before we're dealing with gangsters, their molls, heartbreaking tragedy and small children being held from eighth floor windows.

    The leads are so charismatic, and the writing so sharp, that it's almost impossible not to like this film. Another little post-war gem of a movie.
    8chipe

    Enjoyable, jocular, witty, exciting, fast-paced, righteous.

    I found this movie to be very enjoyable to watch. There was no masterful overriding story, but it moved along at a good pace, was quite genial and had no faults. It might be called an early "procedural" in today's lingo: lots of radio squad car scenes, beaming messages in cop talk back and forth, well photographed auto chase scenes and shootouts. The directing, script, acting and cinema-photography were superior. In the movie the cops were all righteous and the criminals all incorrigibly bad.

    Three things stood out for me, favorably: (1) I was always a big Gale Storm fan, stemming from my childhood watching of "My Little Margie" re-runs on TV (Gale was the co-star of the TV show, and part of the romantic triangle in this movie). (2) The repartee was often witty and jocular and never off-putting. For example, on an early date, Officer Rocky Barnes (played by Mark Stevens) is having his first dance with Gale Storm, and, holding her tightly he says, "I've been waiting a long time for this." She replies, "I can believe it. I feel a rib cracking." He responds, "Oh, control yourself, Barnes. This lady's got to last." (3) The relationship between the two police partners (Stevens and Edmond O'Brien) was friendly and jocular. It was nice to observe their respect for each other. Both were quite competent. O'Brien was the more serious, cynical and hard on criminals. Stevens was more relaxed and sensitive to criminals' feelings.
    7hitchcockthelegend

    Here, buy yourself a new head. One with a brain in it!

    Between Midnight and Dawn is directed by Gordon Douglas and adapted to screenplay by Eugene Ling from a story by Gerald Drayson Adams and Leo Katcher. It stars Edmond O'Brien, Mark Stevens, Gale Storm, Donald Buka and Gale Robbins. Music is by George Duning and cinematography by George E. Diskant.

    Stevens and O'Brien play two prowl car cops, long time friends who fall for the same woman (Storm), but that could never come between them. That's the job of rising crime boss Ritchie Garris (Buka)...

    On the page it looked as if it easily could have got bogged down by romantic threads and buddy buddy cop formula. Thankfully that isn't the case. Finding its way into a number of film noir publications, it's a pic that only just qualifies on account of certain narrative thematics and the night time photography of the always excellent Diskant.

    On its own terms anyway it's a damn good policer, one that is handled with knowing direction from Douglas and features the reassuring presences of Stevens and O'Brien, both of whom play cops with different attitudes to the job, but both believable and never played as trite good cop bad cop fodder.

    In the lady corner are Storm and Robbins, the former in the middle of our twin testosterone fuelled coppers, and the latter the gangster's moll. Both sultry and beautiful - even if Storm is sporting a hairstyle that equally is both distracting for the character and does her obvious sexiness no favours, but both the gals are written with thought and performed as such.

    Then there is Buka as scumbag Garris. This character clearly has ideas above his station, something which our coppers gleefully like to remind him of. But Garris is a nasty piece of work, which ultimately leads us to a thrilling and suspenseful finale. Buka (The Street with No Name) really should have had a bigger noir/crime film career.

    Sometimes funny and laced with choice dialogue, this still also manages to impact with dramatic, suspenseful and attention grabbing scenes. This a film that's easy to recommend to lovers of 40s/50s policer movies; it's also pretty bloody for the time. There's a great crew behind this and they don't let anyone down. 7/10

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    Argumento

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    • Trivia
      While the city is never identified, the police badges and numbered streets are similar to those used or located in New York City. However, the dispatcher says "KMA 367" over the radio. This FCC call sign was and is registered to the Los Angeles Police Department, and is valid through the year 2025.
    • Errores
      When the officers rent the flat, Kate gets up from the couch to answer the door, and she is wearing black heels. When she lays on the couch again, she is wearing lighter-colored flat shoes.
    • Citas

      Rocky Barnes: Miss Mallory... Do you mind if I call you Kate?

      Katharine Mallory: You might as well. I've a feeling you'll get around to it in a minute anyway.

    • Conexiones
      References El gato negro (1941)
    • Bandas sonoras
      PLEASE DON'T KISS ME
      Written by Allan Roberts and Doris Fisher

      Performed by Gale Robbins (shown in part only)

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    Preguntas Frecuentes14

    • How long is Between Midnight and Dawn?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 24 de octubre de 1951 (México)
    • País de origen
      • Estados Unidos
    • Sitios oficiales
      • Streaming on "Donald P. Borchers" YouTube Channel
      • Streaming on "Gloria Dean" YouTube Channel
    • Idiomas
      • Inglés
      • Italiano
    • También se conoce como
      • Between Midnight and Dawn
    • Locaciones de filmación
      • Pacific Electric Building, Los Ángeles, California, Estados Unidos(During the police pursuit of Garris after he escapes custody, Garris's car is shown turning into the Main Street trolley car entrance of this building and exiting into the car yard on the other side of the building)
    • Productora
      • Columbia Pictures
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      • 1h 29min(89 min)
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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