Night World

Fun, somewhat bizarre pre-coder about one night at a nightclub and the assorted people there. Worth a look for the great cast and the odd mixture of gangster movie and musical comedy. Lew Ayres plays a rich guy drowning himself in drink because his mom killed his dad. Mae Clarke plays a showgirl who helps him. The two fall in love quickly, Old Hollywood style. They have a cute chemistry. Great support from Boris Karloff, Clarence Muse, George Raft, Bert Roach, Dorothy Revier, and, hey, there's future gossip columnist Hedda Hopper. Also features a forgettable number choreographed by Busby Berkeley. Ayres is fine but upstaged by the rest of the cast, especially Clarke and Muse. It's from Universal although it seems a bit like it's trying to be a WB movie. A good way to pass an hour. There's also a Frankenstein joke, although Karloff is not in that particular scene.

Yes, it's a cheap versions of GRAND HOTEL, but I think it works just fine. I'm going to disagree with some previous reviewers: I think Karloff is marvelous as the club owner, bringing a fierceness and bravado to it that others would lack. The rest of the cast is also good: Ayres, Marsh and Muse all register strongly. Hedda Hopper is indeed amazing as the bad mother. And George Raft stands out in his small part. A little of it is creaky and dated, but overall, I thought the camera-work was fluid and fine, the story moved fast and the characters were well-written. Nice little Busby Berkeley number near the top, too. Well worth checking out.

NIGHT WORLD is an interesting hour for film buffs (running time 58 minutes) It was made at Universal Studios in 1932 using cast members from their famed monster films. Of course, the headliner is Boris Karloff as Happy McDonald, the owner of a midtown Manhattan nightclub. He's a fast talking gangster who is not afraid to use his glib talk, his fists or his gun. In FRANKENSTEIN, Mae Clarke, was kinda drab, and not very pretty. Here she shows she's a spunky, funny and sexy actress. Bert Roach, of MURDERS IN THE RUE MORGUE turns up as an annoying drunk. The rest of the cast includes young Lew Ayres, Hedda Hopper, George Raft and Robert Emmet O'Connor. Busby Berkeley supervised the sparse dance numbers, and his trademark, naughty camera angles are here. I had a lot of fun with 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.