अपनी भाषा में प्लॉट जोड़ेंGeorge Taylor returns from WWII with amnesia. Back home in Los Angeles, while trying to track down his old identity, he stumbles onto a 3-year old murder case and a hunt for a missing $2 mil... सभी पढ़ेंGeorge Taylor returns from WWII with amnesia. Back home in Los Angeles, while trying to track down his old identity, he stumbles onto a 3-year old murder case and a hunt for a missing $2 million.George Taylor returns from WWII with amnesia. Back home in Los Angeles, while trying to track down his old identity, he stumbles onto a 3-year old murder case and a hunt for a missing $2 million.
- Police Detective
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- Little Man with Glasses
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- Marine Desk Sergeant
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- John - Bartender
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- Tom - Sanitarium Guard
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- Bank Teller
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- Ms. Jones - Sanitarium Nurse
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- Dr. Grant
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- Headwaiter
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फ़ीचर्ड समीक्षाएं
This has all the gloomy, alienating, nighttime elements of the best film noirs, and it's smack in the central Post War best of it. It even has a director, Joseph L. Mankiewicz, known for handling dramatic, emotional situations with both delicacy and power. And it all pays off. Somewhere in the Night follows a man just out of the army suffering amnesia, and he encounters a sordid past of crime he didn't know he had anything to do with.
The dilemma of American soldiers coming home changed men, and to a home country so changed it was like a foreign country, is the crux of most noir films, and this one plays into it straighter than most. The twist of true amnesia only makes the crisis of George Taylor more stark. The role is played with subtlety, and some stiffness, by John Hodiak, I think because he is meant to be eternally confused by events (since he remembers nothing) and yet can't show his confusion, so he draws up a blank face. Mankiewicz works this inner problem out on the screen well, though choosing to keep the camera at a distance, as if filming a play sometimes, not a recommended film noir method for style, but it does emphasize the psychology more discretely.
The camera-work is stiff, too, as if constrained as much as Taylor is in his amnesia. You won't see many sharp angles up or down, no tilted (dutch angle) frames, little moving camera, and little of the easiest of 1940s camera effects, extreme close ups. All of this makes for a dry look, and for my money, with a plot this sensational, a dull one. This cinematography, by Norbert Brodine sets the tone for the whole movie, and I assume it is at Mankiewicz's request, and it just doesn't compare well to other noirs, to Orson Welles, or to any number of Warner gangster films with similar shadowy subjects. Maybe the most extreme example of this is the long dialog over the crystal ball, where the camera just sits and watches.
The lighting and the sets, in general, are dynamic, however, and the acting generally solid. And it has all the hallmarks (not quite clichés) of the genre--thugs at the bar, a nightclub singer with a big heart, a good guy who turns out to be a bad guy, and a cop who is clever and peripheral, like a sentry always ready. The movie is, truly, interesting, and doesn't let up as you have to figure out the puzzle of who did what and why. It won't sweep you off your feet or blow you away, but it will be worth settling quietly into.
John Hodiak plays a wounded marine who wakes up in a hospital not knowing who he is, but finding among his possessions 2 letters, one from a woman telling him what a cad he is and another from a friend of his that will lead him down a path lined with several murders, 2 million dollars and a couple of good looking women.
While "Somewhere In The Night" sounds like any one of the many detective thrillers of the 40s, it is lifted from the routine is the script which has a distinct Mankiewicz ring to it
His touch is evident in several places, including meetings with a seedy fortune teller, superbly played by Fritz Kortner, an atypical cop played by Lloyd Nolan who doesn't understand why "movie cops" always "have their hats on", and a spinster played by Josephine Hutchinson who gives Hodiak a hope when she says she recognizes him.
You may or may not figure out the plot. It matters not. The film is an enjoyable one.
It's the stuff noir heaven is made of, the notion of a previous life and being karmically reborn into a next one, night in the big city rife with hidden knowledge, demanding we investigate. Coming back to a Los Angeles hotel that was his last known residence before the war, he discovers a satchel he had checked in, and lo, there's a note inside, and one that tells him he was paid a hefty amount of money.
At so many points sparks threaten to fly, evocative places are visited in the middle of the night, portentous characters are looking for him around town. He's beaten up, nearly run over, framed for murder. In the docks he meets with a wily narrator - a pretend spiritualist - who openly tells him he should not trust a word he says. There is another house where a spinster daughter makes as if she knows him but does she? A visit in a sanatorium reveals someone else who is locked up, unable to remember.
So much ought to have been just right here, making this worthy of other entries in my list of top noirs, and yet the best quality of films like Crossfire or Out of the Past is that they are able to ski on the edges of semiconscious knowledge, of self unexpectedly slipping into a world he gives rise to. Here we have a self-conscious filmmaker in control, who, it gradually becomes apparent, is trying to construct that noir sense. Instead of spontaneously slipping out through back roads, we're taken places that someone has just finished renovating for us.
It's the difference between detective fiction of the Sherlock Holmes kind and film noir where a narrator is not fully in control. So of course it all ends with the bad guy finally unmasking himself and making a big fuss of explaining things to us. Of course it's timed just right for the cop to make the arrest.
It's all a bit cleverly here, self-conscious, and you'll see it in the self-referential nod to movies. The same filmmaker would go on to do All About Eve.
The more tantalizing notion in all this for me is that the note professing such hatred for him really was from a loved one he stood up one day, or was it a last letter that he wrote and was planning to send but never got around to?
क्या आपको पता है
- ट्रिवियाDuring the course of the film, the name of the mysterious 'Larry Cravat' is said 85 times.
- गूफ़George Taylor is in the hospital at the beginning of the film with a broken arm and his head swathed in bandages. When they remove the bandages, he has a perfectly trimmed moustache.
- भाव
Christy Smith: In about two minutes, a bouncer is coming back in here with no sense of humor. He's a foot bigger than you in all directions. That's what I think.
- कनेक्शनReferenced in Remington Steele: Cast in Steele (1984)
- साउंडट्रैकPaducah
(uncredited)
Music by Harry Warren
Played when George removes the postcard and replaces it with a matchbook
टॉप पसंद
- How long is Somewhere in the Night?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइटें
- भाषा
- इस रूप में भी जाना जाता है
- Solo en la noche
- फ़िल्माने की जगहें
- Union Station - 800 N. Alameda Street, Downtown, लॉस एंजेल्स, कैलिफोर्निया, संयुक्त राज्य अमेरिका(where George Taylor examines the briefcase he recovered from storage)
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- US और कनाडा में सकल
- $15,00,000
- चलने की अवधि1 घंटा 50 मिनट
- रंग
- पक्ष अनुपात
- 1.37 : 1