Così finisce la nostra notte

America might still have officially been neutral in 1941, but Hollywood filmmakers were beginning to poke at the nation's conscience with films like the unjustly overlooked So Ends Our Night. A young Glenn Ford and Fredric March stay one step ahead of the Nazis as they journey from country to country without passports only to meet with indifference to their plight wherever they go. Its message is still relevant today - and still as overlooked.

It's 1937 Austria. Josef Steiner (Fredric March) and teenager Ludwig Kern (Glenn Ford) are picked up by the police. They and many others are on the run and in hiding from the Nazis. Josef is offered clemency to turn against the others including those who helped him escape the concentration camp. He had left behind his wife Marie (Frances Dee). Ludwig falls for fellow Jewish exile Ruth Holland (Margaret Sullavan). After Austria is taken over by the Nazis, Josef becomes a hunted man.

This is a fine wartime film with one Oscar nomination under its belt. March and Ford are good. March has some powerful scenes while this is an early breakout role for Ford. I still think that the movie would be more powerful if it kept only one main character. More than anything, these journeys feel real and that's important during this time. It shows the oppressiveness of the police state and the callous cruelty of the Nazis.

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.

The engaging,idiosyncratic genius of supporting players Leonid Kinskey, Sig Ruman ,et. al. is worth the viewing. The earnest, beseeching , concerned and compassionate soul of Margaret Sullavan is worth the viewing. The affable, unwontedly blithe and youthful Glenn Ford is worth the viewing. The fortitude , hope, courage ,and quiet valor of Frederick March is worth the viewing. The scene wherein March desperately seeks a last fleeting view of his wife, the ethereally beautiful Frances Dee ere the darkness of the Holocaust descends to engulf him beggars description.

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).