Così finisce la nostra notte

Not best written (choppy) yet realistic melodrama depicting very real times during WWII. Movie is notable for Anna Sten's brief appearance (admittedly, one of my favorites) who was more or less done-in by Hollywood yet never failed to deliver superb performances. Either Glenn Ford's first or one of his first movies. Depressing yet worth seeing. Good luck, because I think I got one of the last VHS copies around.

This film focuses on the plight of Jews fleeing Nazi Germany. It is fairly well made but the script, based on a novel by famed writer Remarque, tends to wander rather aimlessly, making for a less than compelling film. March is fine as a man who has escaped from a concentration camp, leaving behind his beloved wife in Germany. In one of his earliest roles, baby-faced Ford turns in an impressive performance as March's fellow escapee. Sullavan, in one of her last films, is also good as Ford's love interest. Dee gets third billing, but has only a few minutes of screen time as March's wife. The film looks good visually, but the pacing leaves something to be desired.

Wartime drama from United Artists and director John Cromwell. Three Austrian citizens find themselves outcasts in their own land after the rise of fascism. Josef Steiner (Fredric March) is persona non grata thanks to his outspoken political beliefs, while young man Ludwig Kern (Glenn Ford) learns that he is half-Jewish. Academic Ruth Holland (Margaret Sullavan) is fully Jewish, with the added "crime" of having been engaged to an Aryan. These struggles to survive as they are arrested and deported multiple times, sent to countries throughout Europe.

This film was a political hot potato when it was released, as Hollywood was warned by the Production Code not to make any overtly anti Nazii films. Therefore this adaptation of an Erich Maria Remarque novel was independently produced by David Loew and Albert Lewin, who took their chances with the film getting approval, which it did. It's a powerful, moving indictment of the activities of the time, with good performances, especially from a very young Glenn Ford, whose career was said to have been greatly boosted by his turn here. Ironically, both star Fredric March and director John Cromwell would become subjects of US government displeasure during the HUAC era. The movie earned an Oscar nomination for Best Score (Louis Gruenberg).

Stateless refugees from Hitler's Germany must move from one country to the next in this realistic film from 1941. The realism is in the cast of actors other than the well known Glenn Ford, Frederic March, Frances Dee, and Margaret Sullavan, those playing the smaller but important parts of spies, sympathizers, officials, restaurateurs, nurses, etc...all with a keen eye for authenticity and details. As well, one of the best parts in the film is played by Erich Von Stroheim as an intelligent, sympathetic, and cunning SS officer who's out to arrest the non-conformist played in a terrific part by Frederic March. So while we follow the main characters and a touching love story and a biting role for March, the real value of the picture is the portrait it paints in its portrayals of the other people caught up in the pre-war manoeuvrings.

The mind-numbing horror of Fascism in Germany was bad enough, even before the ultimate horror of the Holocaust was eventually made known, and "So Ends Our Night" was an extremely brave attempt in 1941 to bring home to the people of the USA, (before they entered WW2), the extent of repression and State-sanctioned bigotry that Nazi Germany had imposed on its people from the 30s onwards. Set within the context of a conventional Hollywood drama, it nevertheless pulled few punches and showed how tyrannical governments subject their people by gradually increasing degrees, and how freedom is eroded rather than outlawed overnight. Seeing it with post-Holocaust eyes makes its warning that the price of freedom is eternal vigilance, even more powerful and cogent, and it is a film that also manages to show that it is not governments that "bestow" freedom, but the determination and will of people themselves to maintain it. Well directed by John Cromwell, and with excellent performances from Frederic March and Margaret Sullivan, (who particularly seems to infuse her performance with genuine conviction), with welcome appearances from Anna Sten (a much better actress than has ever been fully recognised), and Erich von Stroheim, as well as a very young Glenn Ford. Although seldom remembered nowadays, this is a film that is well worth seeking out, and I don't think you will be disappointed if you do so. Highly recommended, and long overdue for critical rehabilitation.