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I had never heard of this film, so I didn't know what to expect. I figured that anything featuring Attenborough and McGoohan had to be good...and I was right.

The film begins with preparations for a big jazz party honoring Rex and Delia's first anniversary. When they walk through the door, we get a big surprise: Rex is black and Delia is white. (Mixed-race couples were rare on screen in 1962, although they're now "de rigeur" in British TV and film.) When McGoohan's character started his scheming, it finally dawned on me that I was watching OTHELLO in a warehouse!

The screenwriters did a decent job of condensing Shakespeare's play into 90 minutes and bringing it up to date, but they chose to change the ending, which may disappoint die-hard fans of the Bard.

What makes this movie stand out is the cast of supporting characters: great jazz players of the early 1960s. The three headliners are Dave Brubeck (playing "Unsquare Dance"), bassist Charles Mingus, and sax player/bandleader Johnny Dankworth. But there are many second- tier players who contribute to the swinging atmosphere.

This film would be of interest to students of Shakespeare, or lovers of jazz. And if you like the idea of a "jazz summit" in a film, also check out A SONG IS BORN, a Danny Kaye comedy from 1948. The jazzers outshine the actors in that one; in ALL NIGHT LONG, it's a dead heat.

The film, based on Othello, is neatly positioned as a vehicle to showcase some of the best Jazz musicians of the period -- including Dave Brubeck and Charlie Mingus.

What is most interesting about this film is how it handles racial relations. That was an important part of "Othello", but really defined the 1960s. I love how 1963 was the year of the "I Have a Dream" speech, but already in England films like this had blacks and whites mingling without any sort of trouble. How much more mature they were...

The film was released by The Criterion Collection in January 2011, and it deserved to be. Criterion has done a great job of finding lost classics and cleaning them up -- the beautiful black and white cinematography deserves to be seen, and the jazz soundtrack deserves to be heard.

I came to this little-known British movie after watching another film director Basil Deardon had made not long before called "Sapphire" which as its main theme addressed the issue of interracial relationships in today's England. Here, he returns to this territory as he not only transposes the main plot elements of Shakespeare's "Othello" to the then present day but also imaginatively sets it in the jazz world of the time.

I'm no jazz-buff but readily appreciate that for those who are, the presence of big names like Charles Mingus, Dave Brubeck and Johnny Dankworth in the cast will make this film a draw almost for that reason alone. Actually they none of them are on screen for long and only get a few cursory lines and some brief musical interludes between them, so that they don't affect the action elsewhere, but I guess they add a flavour of authenticity to proceedings.

That action revolves around Patrick McGoohan's conniving and devious drummer Johnny, whose only way to forward his career is to co-opt retired singer Marti Stevens into joining his band. To do this he has to remove the two men he sees are in his way, Stevens' former musical accompanist, trumpeter Keith Michell and her new husband, black band-leader Paul Harris.

It all kicks off at a swinging first wedding anniversary party for Harris and Stevens hosted by promoter Richard Attenborough, the guest-list of which includes big-shot record company executive Bernard Braden as Johnny gets to work spinning his web even if it means innocent people's lives will be destroyed.

Deardon daringly posits two mixed-race relationships in the film and laudably does so in a natural and unobstrusive way. The movie itself is very set-bound with the camera rooted in Attenborough's massive apartment, contributing to the theatricality of the piece. McGoohan dominates as the twitchy, scheming Johnny and certainly impresses with his drumming skills, but there's good support for him provided by Michell, Stevens and particularly Harris, who you could easily imagine portraying the tragic Moor in the original "Othello". Betsy Blair also contributes a brief, but telling performance as Johnny's overlooked wife. Interestingly, the tragedy of the original play is given a more Hollywood-style ending, which particularly to those of us familiar with the original, seems a bit of a cop-out, although I can perhaps understand Deardon's reluctance to openly vilify Harris's character, under the circumstances.

Like I said though, the music didn't move me much and the hep-cat jive talk of this cloistered world rather grated after a while, but all in all this was an interesting and provocative modern-day take on the Bard, with a good cast, solid direction and the additional ingredient of some contemporary jazz music for those who really care for it.

For lovers of jazz and racial harmony, this groovy British movie has it all. Some of the best jazz musicians of the era. Blacks and whites getting along just fine. And a fascinating performance by Patrick McGoohan -- who plays a scheming drummer hell-bent on splitting up an inter-racial marriage in order to form his own band.

The movie is set in the docklands area of London with a plot loosely based on Shakespeare's "Othello". The acting and direction are generally good with noirish cinematography. But the main attraction is the jazz -- with such luminaries as Dave Brubeck, Johnny Dankworth, Tubby Hayes, and Charlie Mingus happily jamming throughout the movie.

Paul Harris delivers an impressive performance as an African-American band leader with a stage presence similar to Morgan Freeman. The rest of the cast are natural and convincing, especially the lovely Maria Velasco, who is in another inter-racial relationship. But the movie belongs to McGoohan, whose deeply flawed character, insanely brilliant drumming (not dubbed!), and maniacal scheming are a wonder to behold.

This minor classic is available as a high-quality German all-region DVD (Die Heisse Nacht) with an English sound track.

"All Night Long" takes "Othello" and transposes it to a jazz setting in contemporary London, or at least the London of the early sixties. It's a great idea, has a terrific cast and how could any jazz aficianado not like any movie that features this much jazz and a cast that includes Charlie Mingus, Johnny Dankworth and Dave Brubeck all playing themselves but there is a but... In place of Shakespeare we get jive and nothing dates as badly as the kind of hip dialogue that jazz musicians are reputed to have used back then. Cool just isn't cool anymore.

On the plus side, it's a Basil Dearden picture so as well as great jazz, and lots of it, we also get intelligence. Dearden knows the pedigree he has here and treats it with due respect and Patrick McGoohan is superb as the Iago figure. Others in the cast include Richard Attenborough, Betsy Blair, Keith Michell and in the Othello/Desdemona roles, Paul Harris and Marti Stevens. Unfortunately Harris and Stevens are the weakest things about the film; their lack of acting experience shows.

It is, however, a brilliant looking picture. Producer Michael Relph designed it along with Art Director Ray Sim and Edward Scaife supplied the superb black and white cinematography and, as I said, the jazz is terrific. However, it wasn't really successful and is among the least revived of all the Dearden/Relph movies but it's certainly worth seeking out and if you love jazz it is simply unmissable.

Just imagine: That Shakespearian bigger-than-life plot line, a sixties touch of psychoanalysis, a movie set entirely inside a party of swingers, great interludes featuring amazing jazz performances from some great artists such as Charlie Mingus(music scenes that also explain story line and characters), a slight bit of over-acting in colorful black and white, good filmmaking, interracial couples and drug taking in a 1961 movie, love, hate and, of course, jealousy. Who could possible miss out on these ingredients?

Just beautiful.

1st watched 11/17/2007, 6 out of 10(Dir-Basil Dearden): Interesting jazz soap-opera played out with many actual jazz superstars of the day is amazingly watchable despite the lack of acting talent on-hand. According to my cable on-demand info, the story is a re-telling of Shakespeare's Othello(a story that I'm not familiar with I'm sorry to say) and is played out effectively by everyone involved. The setting is a 1-year anniversary for a hot couple in the jazz world(Rex and Odelia) at a rich man's swank hideout that he uses exclusively for parties of this type. The rich man is played by Richard Attenborough, who is always good in his acting stints and this one is no exception. Everything appears peachy as the couple enters the scene, but there is a hint of scandal as his drummer schemes to start his own band trying to lure away his new wife to be a vocalist in it, although she doesn't appear initially to be that interested. The tangled web is weaved thicker and thicker as the night goes on as the believable antagonist plots everyone against each other for his own gain. This role is played very well by Patrick McGoohan as we can see the evil lurking behind his eyes and it is revealed increasingly as the film goes on. Behind all this is some of the hottest jazz musicians playing original tunes providing a very unique background to the storyline as individuals move in and out of the jam session providing them a break from the drama and being kind of an exit door for the characters in the play. All in all this is a very satisfying unique movie experience that is played out well and provides good background music as well. It is definitely, cool baby!!

All Night Long (1962)

If you love jazz, you might want to check out this low budget, offbeat film about the fringes of the jazz scene as the Bob era was devolving into smaller commercial and (frankly) white audiences. It's set in Mod England, but the idea is quite American—the music, above all, but also the script and production.

If you liked the television series "The Prisoner" you might also like checking out that show's star, Patrick McGoohan, who stars here. And then, if you appreciate very loose adaptations of Shakespeare (like the nearly concurrent "West Side Story") you might see the strains of Othello at work here.

I liked it, but I know that it's largely just a curiosity, as a movie. Well, it's been deemed an "important" film by Criterion, which has released one of their spiffy (gorgeous) versions on DVD, and I think that's accurate, even if the dramatics (and a couple of plot tricks using a tape recorder) are sometimes strained. The whole enterprise feels like an art film, with a weird layer of pretension that I suppose comes from the Shakespearean overlay.

As for the jazz? Well, Charles Mingus and Dave Brubeck should be enough for you. Great stuff that you just wish lasted longer. What else? There is a liberal acceptance of the mixing of cultures and races that's great (and you have to remember how weird this was in movies back then)—the two leads beyond McGoohan are a mixed-race couple. And then there is the set itself, a single spacious club with a stairway at one end, where the camera moves with crisp authority.

Like lots of director Basil Dearden's movies, this one is different and fascinating and not quite as brilliant or insightful as it needs to be. But yeah, watch it. It's a subculture classic, for sure. With great music.

About 20 to 30 minutes into the film, I felt like I was watching a play--a familiar play, at that. Thanks to IMDb, I learned it's inspired by Shakespeare's Othello. I haven't read it in 40 years, but at least that mystery was solved.

The mystery that's not solved for me is the actual genesis of this project. Whose idea was it to fashion a script loosely based on Othello against the backdrop of the late 1960s British jazz scene? The producer? The script's co-authors? Honestly, that's a head-scratcher, in my book.

As far as the music, it's never truly "featured" in this film. It's either used as a transition from one scene to the next or as a background element. Make no mistake: what performances we do get are high-end, time capsule-like delights; but they are often interrupted with storyline.

If you're a diehard fan of the jazz artists featured in this film or of some members of the cast, like Betsy Blair, Richard Attenborough, or Patrick McGoohan, you'll probably like this movie. And if you are into older movies that test the boundaries regarding interracial relationships, this one may interest you. It's good but definitely an oddity.

This is an interesting period piece, especially for jazz lovers and those who remember the early sixties. The plot is fairly silly, but entertaining enough to hold the attention. It tells the story of jealousy and scheming amongst a number of jazz musicians at a party held in a London warehouse.

The acting is fairly good, but what makes it especially interesting is the fact that the action takes place against the back drop of a continuous jam session featuring solos by musicians such as Dave Brubeck and Tubby Hayes.

I had not heard of this film prior to its being shown on Channel 81 Freeview recently. I was very much interested in seeing this as I love jazz as well as Classical Music especially Chamber and Leider and Opera so I was looking forward to seeing again on film many of the alumni I had seen in the Flamingo and Ronnie Scott's Old Place in the late 1950s and early 60s before I returned to Wales to do my first degree.

I was delighted to see and hear Tubby Hayes - I remember him for playing tenor sax and not so much for playing the vibes as the main protagonist of that art was Bill le Sage who played mostly at the Flamingo.

Dramatically, I found the film to be interesting and it moved very well - it was interesting to see the ubiquitous Richard Attenborough playing the millionaire in this film - his range was extremely extensive - it was pity he became a 'darling' in his old age.

It did seem odd to see a flurry of jazz musicians flooding through the door of the auditorium - all dressed in the raincoats of the time - The film makes more sense to me now having noted your information that it was based on Othello - I played Brabantio in Othello some 10 or more years ago but I would not have connected this film with that drama.

Dave Brubeck was able to give solo piece of a few minutes but Tubby Hayes had only a short time for playing the vibes - and many of the ensemble pieces were interrupted by the acting and the music instead of being in the forefront became only the background. It had not heard the trumpet player previously who was very good indeed - at the time I visited the modern clubs Kenny Baker was well known and also Joe Harriot whom I had the very good fortune to me for supper on evening at the invitation of a lady artist friend of mine - he was so humble and nice I am interested in who played the sax for Keith Michell - I know that he was a painter as well as an actor - and who sang the female vocals I shall do some more research.

It was Glenn Miller's music especially the film that introduced me to jazz and my first love was Trad Jazz and I used to go to Club 51 and the 100 Club - after developing an interest in modern jazz I continued to go to the 100 club to dance the Trad Stomp.

As I have recorded the film on my DVD player I will watch it again and try to evaluate more as a film rather than a piece of jazz history - it was great to see Tubby Hayes again even if only briefly.

I am great fan of 30s music and I love Fred Astaire in Second Chorus the Artie Shaw band is featured and her again there was such a wasted opportunity - Fred could have been singing some wonderful songs with that great band but the opportunity was lost.

The trouble in walking down memory lane is that it makes the present passage seem so dire and dirty - London in the late 50s and early 60s was a great place to be for young people - everyone was enthusiastic and polite and much more happy than today.

Our politicians have created not so much a concrete but a plastic jungle - roll over McDonald's!

A rare opportunity to see these two greats in action. Excellent design by producer Michael Relph and cinematography by Edward Scaife. And an auspicious debut by Paul Harris as Othello, excellent work by Patrick McGoohan as Iago and rarely seen Marti Stevens as Desdemona. Major contributions from blacklisted Paul Jarrico for writing and Betsy Blair from "Marty" fame earn a welcome payday in pounds, not dollars. Thanks again, Mr. Shakespeare!

Absolutely adored this one, a cool and stylish gem from Basil Dearden. The story is tight and told in a single evening during a party, and there is a fantastic contrast of free and easy jazz music with the sinister scheming of a drummer (Patrick McGoohan) who senses his ambitions to get ahead may be thwarted. There are two interracial relationships (including one with the more taboo black man/white woman pairing), and a mixing of people of all colors that comes across as completely natural, pretty special for 1962. Many notable British jazz musicians are present, and joined by Americans Dave Brubeck and Charles Mingus. Jazz is really highlighted, with extended musical numbers where many are allowed to shine, and we see things like Brubeck and Mingus riffing on the latter's Not-Sectarian Blues. The camera work is beautiful and matches the feeling of the scenes, and the dialogue is chock-full of snappy, hip slang from the period.

The film is a clever re-telling of Othello, and McGoohan is wonderful here as Johnny/Iago, complete with being convincing as a drummer. I loved Paul Harris (Rex/Othello) and Maria Velasco (Benny/Bianca) too; they have considerable screen presence and a sense of sophistication in how they handle the emotions of their characters. Also effective are Marti Stevens (Delia/Desdemona), Keith Michell (Cass/Cassio), and Betsy Blair (Emily/Emilia), and then you have Richard Attenborough for goodness sake. It's a great cast.

The film has a few flaws, but I didn't mind. Marijuana use is openly acknowledged, but its effects seem a tad overstated, with Cass being manipulated pretty easily after a few puffs. Maybe you could say that he's been an abuser and he's mostly guilty of becoming paranoid, so it's not ridiculously far-fetched, but I don't know, the reaction is a bit strong.

The ending is also altered relative to Othello, and while that didn't concern me too much, the unraveling of the machinations did feel a little abrupt. While there is less bloodshed in this version of the story, there is certainly pathos in all three of the relationships, and all because the men have behaved badly. There is Johnny and Emily of course, where we get the backstory of Johnny only having married her while drunk, and confessing to not really loving her by the time the film ends. There is also Cass and Benny, who have a sexual relationship and strong admiration for one another, but despite the clearly good thing he has going, Cass doesn't want to commit to her.

And then we have the principal couple, Rex and Delia, whose relationship deteriorates from happily celebrating their one year anniversary among friends to a wild attack, fueled by unfounded jealousy. He starts the film with such a stately, refined air, but by the time it ends, we see (and he sees) he's capable of violence, and he's also been chastised by many for having denied his wife the right to continue her singing career, one she's given up for him. While her running after him despite these things may cause a little cringe, I think it speaks to the purity of her love, and imagine he's been transformed. I believe he will no longer stand in the way of her performing. However the viewer imagines it, I think the film's sympathies are with all three of these women, something I liked about it.

There are so many great titles in Basil Darden's filmography, with intelligent scripts about surprising subjects, just remember "the Victim". This "All night long" is another must by Dearden as we see during a night celebration an explosive cocktail with a story inspired by Shakespeare (Othello), some great jazzmen (Dave Brubeck and Charlie Mingus), Patrick McGoohan playing a dangerous toxic character, and a wonderful casting with all kind of rare and inter racial situations. The main interest is of course Patrick McGoohan, I only know him in his first great movie "Hell's drivers" (directed in 1957 by Cyril Enfield) and in the cult TV series "Danger man", "Secret Agent" and "the Prisoner". McGoohan is really nasty in "All night long", I'm very surprised some scenes weren't censored in the early 60's. Cinematography is brilliant as often in British cinema. A must see.

In 1974, Patrick McGoohan directed "Catch my soul", a hippie musical version of Othello, with Richie Havens, Tony Joe White, Bille Joe Royal...

The first time I saw this film was when it came out in 1961. I didn't care then one iota that it was a modern day 'take' on Shakespeare's play: "Othello" What

grabbed me then was that it featured jazz musicians like Mingus, Brubeck, and Tubby Hayes, in a feature film. On a second viewing recently on late night T.V., I now believe the producers of this film should have left Shakespearian drama to Shakespearian actors. Though it was terrific to see and hear musicians like

Hayes and Brubeck (man! those pearly whites he flashes at every available

opportunity!), I think it was a shame that a man like Charles Mingus (a musical genius and bass player without peer), was not featured more often.

There were a couple of scenes depicting black nightclubs in Dearden & Relph's 'Sapphire', here they've become an entire movie in this fascinating period peace featuring the likes of Dave Brubeck and Charlie Mingus, with Patrick McGoohan perfectly cast as a modern Iago, Marti Stevens as a formidable Desdemona and Maria Velasco a fox as the distaff half of the film's other interracial pair.

Director Basil Deardon Became an Underground Film-Maker who was Rediscovered by the "Film-School" Generation and Since has Developed a Cult Following.

He Made "Socially Conscious" Films in England before Tragically Dying in a Car Accident at age 60.

But the Films He Directed are Now Regarded as "Must-See" for Serious Scholars of the Art and Film-Buffs.

This is a One-Set Film, and What a One-Set it is.

A Towering Luxurious Flat where Richard Attenborough Hosts a Celebratory One Year Anniversary from Friends and Fellow Jazz Musicians.

On Screen are Rare Glimpses of Real Jazz Headliners like Charles Mingus and Piano Player Dave Brubeck.

Patrick McGoohan Gets the Acting Honors as a Pure-Evil Drummer that Attempts to Tear-Apart a Marriage so He can Claim the Retired Singer (Betsy Blair) to Join His Band.

Paul Harris Oversized Face Gets a Lot of Close-Ups and Maintains a Glare that can Freeze the Frame.

The Movie is Considered Cutting-Edge...

because of 2 Items that were Virtually Taboo at the Movies.

Drug-Use (Marijuana) and Interracial Marriage (2 couples).

The Mixing of the Races is Never Mentioned, but On Full Display Throughout, Without a Word of Comment.

Mingus and Brubeck are Mostly on Periphery but Manage a Few Licks Here and There.

Beautifully Shot, Competently Acted Modernity Transposing Shakespeare's "Othello" as an Influence.

This is an Example of Low-Budget Film-Making that is Artful, Entertaining, and Different.

A Precious Picture of Archival Importance.

Note...For 1 of the unsuspected treats, look-out for the Bongo Player Barry Morgan.