Nocturne

This neat little noir thriller is a rare find. The dialog is witty and clever. The acting, mainly by a second-line cast, is better than in many bigger budget movies. I was especially impressed by Myrna Dell's performance. Plus she had some of the best lines in the flick, i.e., "He was a lady killer. But don't get any ideas. I ain't no lady." Another line, "Who ever heard of a detective wearing a hat," is uttered by a dance hostess instructing Dt. Joe Warner (George Raft) who is trying to squeeze information out of her about the suicide (the audience knows it is murder)of composer Keith Vincent (Edward Ashley). Such witticisms are scattered throughout the film.

Many critics rate George Raft's performance in "Nocturne" as poor at best. But actually he plays the part fairly well as the director, producer, and writers intended for Joe Warner to be. He is a mama's boy (40's and still living with mom). He is definitely a Hitchcockian lead character - producer Joan Harrison comes in to play here. Hitchcock would take this image to its utmost realization with Norman Bates. As critics have pointed out in other IMDb reviews Joe Warner's mom (Mabel Paige) has some of the best scenes in the movie. Since he is living at home and obviously supported by his mother, Joe can afford to indulge in going his own way. He does not have a family to support. One reason he is so interested in the case is his love for music. He and his mom both play piano. In one scene he talks about spending much of his spare time attending the opera. So music and murder intertwine. "Nocturne" is appropriate as a title, not only because it is the name of the murdered's composer last composition which he had not quite finished when shot to death, but nocturne also connotes L.A. nightlife where much of the action in the film takes place. Nocturne can also be used to describe the tangled minds of many of the frequenters of the clubs and hang-outs in the film.

Some critics have mentioned that no answer is given as to why the womanizing murdered composer called all his girlfriends Delores. The writers were attempting to point out that like most womanizers, Keith Vincent was only interested in women as sex objects. A woman had no existence in his mind beyond her genitalia. He wanted sexual conquest, not commitment or any kind of romantic relationship. So to him all women had the same name. Why he chose Delores is left to the viewer to decide. Again, the influence of Joan Harrison manifests itself. Hitchcock left much to the viewer's imagination. How did James Stewart get off the roof from which he was dangling in "Vertigo?"

If you have not seen "Nocturne," you are in for a treat, one of the lost treasures of the 1940's.

From the initial scene chronicling the murder central to the plot of Nocturne as seen from the killer's vantage point, this movie has much to sustain the viewer's interest. Whenever a stock line or situation makes you feel this is a typical hardboiled cop flick, another plot twist or cinemotographic trick changes your mind. Portions of the movie shot after hours in a deserted photographic studio remind the viewer of Harrison's Hitchcockian associations with palpable suspense. George Raft shows surprising likeability as the lead, and Lynn Bari lends sparky support as one of the ranks of the victim's past conquests-or was she?-who just might hold a clue to the identity of the deadly Dolores. If you have a chance to see this film, grab it-although it was a successful and high grossing film at the time of its release in 1946, it is extremely difficult to rent, view, or purchase today. And the music, so evocative of the forties' nightclub allure, is great.

This would have been a better film. It opens with that stunning shot of L.A. then slowly zooms in on the composer in his hilltop home for a mesmerizing beginning, but spends the rest of its running time spinning its wheels. Part of the problem is the confused script which lacks urgency and never brings the story into any kind of focus. There's the occasional flash of excitement or an injection of atmosphere, but then it drifts. It's a film with a very short attention span; it doesn't seem to care much about its own story and seems to be in search of anything it can find to distract it.

And then there's Raft. He was adequate in the similarly well-shot 1945 noir Johnny Angel, also directed by Marin, because in that film he's motivated by a thirst for revenge against the man who killed his father, a simple and rather easy emotion to play. But here he's a detective who's supposed to be obsessed with finding the murderer of the playboy composer, who is killed in the middle of writing one of his songs (a nifty little premise) though the police believe it's a suicide. This is a trickier set of emotions to play and Raft can't pull it off. Why does he care so much? Is he a frustrated musician? It's never explained. There are no layers to Raft, no sense of vulnerability, no dimension or mystery - he's about as wooden as they come. He's only effective when he's acting tough - pushing a guy into a pool or taking on some thug twice his size. When he's asked to do more than that he's not so much lost as he is simply unwilling or constitutionally incapable. He just doesn't have it in him.

One of the pleasures of noir is watching a tough guy getting in over his head and discovering to his horror that there are some foes he can't lick, or allowing his commitment and dedication turn into obsession. A Bogart or a Dick Powell or a Ralph Meeker or a John Payne or a Dan Duryea or even a Mark Stevens could've supplied the necessary psychological complexity to make the detective in Nocturne a memorable and tragic figure. Raft, unfortunately, isn't in their league.

One last thing: the most interesting presence in the film is piano player Joseph Pevney, who later went on to become a very busy TV and movie director. He's only in two or three scenes, but he makes the most of them.

Nocturne is directed by Edwin L. Marin and adapted to screenplay by Jonathan Latimer from a story written by Roland Brown and Frank Fenton. It stars George Raft, Lynn Bari, Virginia Huston, Joseph Pevney, Myrna Dell and Edward Ashley. Music is by Leigh Harline and cinematography by Harry J. Wild.

When Hollywood composer Keith Vincent (Ashley) is found dead in his swanky abode, the police feel it is a clear case of suicide. But there is one exception, Joe Warne (Raft), who feels it just doesn't add up. When it becomes apparent that any number of lady friends of the composer could have killed him, Joe drives himself onwards in pursuit of the truth.

Comfort food noir. Nocturne is a Los Angeles based detective story that doffs its cap towards Otto Preminger's far superior "Laura". Raft is in suitably understated hard-bitten mode as Joe Warne risks more than just the wrath of his bosses when he becomes obsessed with finding a woman called Dolores. He is convinced she has committed a murder and the gap on the wall where a row of ladies photographs hang only fuels his obsession still further.

As director Marin ("Johnny Angel") balances the opposing lifestyles of the principal players, taking us for a trip through the varying haunts of Los Angeles, the dialogue is pungent enough to overcome the failings of the script. A script evidently tampered with by Raft and leading to a rushed and not entirely satisfying finale. But as a mystery it works well enough as the acid tongued dames are dangled in the narrative to keep the viewer as interested as our intrepid detective is.

Marin does a grand job of mixing suspense with action, even opening the picture with a doozy of a plot set-up that is born out by some lovely fluid camera work, and while Wild's ("Murder, My Sweet") photography and Harline's music barely break the boundaries of mood accentuation, the tech credits are admirably unfurled to ensure the picture remains in credit. It helps that the support cast is a roll call of strong "B" movie players, and Raft fans get good value from an actor who was desperately trying to get away from the thuggish characters he was by then becoming known for. 7/10

A piano composer is killed in an apparent suicide, and George Raft is a detective who searches for the truth among the composer's many past girlfriends. Lynn Bari plays opposite as a dark haired, beautiful prime suspect.

The plot needed a bit of work. Even after seeing the conclusion of the film, it is difficult understand exactly what happened. Despite this one shortcoming, the film is really watchable and moves well. The dialog is sharp and a lot of nice details are worked into the film. Look for Myrna Dell, who plays the "Tehachapi Debutante" in a supporting role.

Joan Harrison was the producer, and the film bears her unmistakable stamp. This is a noir film, though not as dark as her earlier "Phantom Lady", which was a superior film in terms of acting and overall dynamics.

The opening shot is technically interesting for a 1946 film as it opens up on the night skyline and continuously glides into the the composer's penthouse living room as he plays piano.