Night Editor

Synopsis Crane Stewart (Charles D. Brown), the editor of the New York Star, while playing poker with his friends, tells a story about a cop involved in a murder investigation.

In flashback, the editor tells the tale of police lieutenant Tony Cochrane (William Gargan), a family man who cheats on his wife with socialite femme fatale Jill Merrill (Janis Carter). Cochrane and the woman, who is also cheating on her husband, witness a man bludgeoning his girlfriend to death with a tire iron while the couple is parked at "lovers lane" by the beach.

The two can't report the crime without revealing their cheating, a dilemma which eventually leads to bigger troubles. Meanwhile, Cochrane must investigate the killing but is not able to tell anyone he witnessed the crime.

This movie was supposed to be the first in a series of Night Editor movies, but it's the only one that was ever made.

It's definitely Film Noir (I've been watching quite a few so called Film Noir movies and many just aren't. This is a fairy good example of the genre, although it sure is "talkie." I would have preferred some more action.

A lot more action. On the plus side, it's a really short film. I guess it was part of a two feature showing.

Night Editor was the proposed "pilot" for a series of B-movie programmers introduced by a bunch of graveyard-shift reporters working the police beat. The series came to naught, but this maiden effort bears watching. William Gargan is a basically decent married detective on the force who has been getting a little action on the side with rich dame Janis Carter, a haut-40s glamourpuss in the Claire Trevor/Helen Walker/Audrey Totter mold whose few performances leave us wondering why her career wasn't a lot bigger. Parked in a lover's lane one night, they witness a man bludgeoning his girlfriend to death with a tire iron. In the movie's most notorious scene, Carter reaches a pitch of erotic frenzy from this random act of sadistic voyeurism. Gargan then has to investigate the crime while keeping mum about the fact that he saw it happen. Of course it turns out that the murderer was not a stranger, but a well-to-do banker friend of Carter's.... Night Editor is a splendid example of why, in the early postwar years, audiences took to these dimly lit, zero-budget, quick-and-dirty crime dramas: They were unapologetically sleazy, they had no time for the sentimental gloss that Hollywood had confected, and they were shocking fun.

The nifty little B Noir is part of the Bad Girls of Film Noir series. The picture is really worth seeing just to see Janis Carter in action. Her frenetic desire to see the body after this guy had just bludgeoned this girl to death was a scene to remember. But she was really the ice lady that giveth and Janis Carter just kept on giving with her icy grip on the the cop and her ability to out maneuver just about everyone.

I had never seen Janis Carter in a B Noir movie but if this is what she is capable of then some of her others might be worth looking for. The words just one more kiss really take on true meaning with Janis Carter. But watch out for that ice pick.

Night Editor is directed by Henry Levin and adapted to screenplay by Hal Smith from the radio program of the same name - by Hal Burdick - and the short story, Inside Story, written by Scott Littleton. It stars William Gargan, Janis Carter, Jeff Donnell, Coulter Irwin and Charles D. Brown. Cinematography is by Burnett Guffey and Philip Tannura, and music is credited to Mischa Bakaleinikoff, though it's believed that Mario Castelnuovo-Tedesco did the work.

"You are just no good for me. We both add up to zero"

A raging "B" pic out of Columbia? Absolutely! This is something of a film noir lovers delight. There is no getting away from the fact it has one of those endings that has proved to be divisive, so how it stacks up for first time viewers now may make or break your opinion of it...

Story finds copper Tony Cochrane (Gargan) having a love affair with viper like Jill Merrill (Carter), this in spite of the fact he has a gorgeous loving wife and a son who worships him. During one of the illicit couple's love trysts they witness a violent murder, and fearing scandal Cochrane fails to uphold the law. From such decisions does life often spiral out of control...

Okies. So we got hot and sweaty scenes, flashbacks, wet streets lit by lamps, alleyways, barely lighted rooms - particularly the station offices - symbolic and metaphorical sequences (oh my those crashing waves), but it's the barbed dialogue, the blend of sex and violence, and a femme fatale of considerable greatness, that ultimately makes this soar.

Personally I hate the ending, but as stated before, I do know noir lovers who find it cheeky and enjoyable. Yet even with my irritation at the finale - and of Carter's hair style (which pushes Phyllis Dietrichson for most unflattering look), there's just so much good here for noir lovers not to enjoy greatly. 7.5/10

Catch that big crashing wave as spider woman Jill (Carter) reaches her own kind of climax. There's nothing like viewing a mangled dead body to get some spider women off, and Jill's some kind of cold-hearted 40's temptress. Too bad cop Cochrane (Gargan) doesn't run for the hills or maybe even his loving wife after viewing this little perverse episode. Instead, he covers up the murder he and Jill just eye-balled. After all, neither wives nor city fathers reward philandering husbands. So how is Cochrane going to clear his conscience once an innocent man is about to get fried for a murder the two illicit lovers know he didn't commit.

My guess is Night Editor was hoping to repeat the success of the noirish Whistler series, also adapted from radio. It didn't happen, but not because of a failure in this 60-minutes. Sure, it wraps up in conventional fashion, even if imaginatively done. After all, there was a stultifying Production Code in effect. Still, the other 55-minutes amounts to a nail-biting trip down black shadow lane. Actor Gargan may not show much emotion as the conflicted cop. But then he's got to keep his real feelings inside. Otherwise he might give it all away, which includes not just his job but wife and family, as well. So, how did he get mixed up with the blonde man-eater in the first place. Apparently it was from working on a prior case that involved Jill and her ritzy clueless husband. It appears she sets a mean trap for about every guy crossing her predatory path, including bank presidents.

No doubt about it, Jill's on the very edge of 40's perversity. Carter really looks the part of blonde ice-queen, even if nuance is not her strong point. I was hoping for some big-eye close-ups that made her similar role in Framed (1947) so memorable, but director Levin's camera stays mainly at a neutral distance. On the whole, it's the script and dark material that carry events.

Anyway, this early noir is a neglected must-see. I'm not going to say gem, since it doesn't quite rise to that level. Still, for sheer 1940's daring, Harold Smith's crafty little screenplay remains an eye-opener.