Estranei nella notte

Recently Released on Blu-ray, this Obscure Anthony Mann Film has been in the Shadows of His Top-Tier Film-Noir and James Stewart Series of Westerns.

Moving on From the 1950's Mann Chose Big-Budget Historical Epics Popular in the Early 60's like "Fall of the Roman Empire" (1964) and "El Cid" (1961).

So the Trifecta of Film-Noir, the Neo-Realist Westerns, and Behemoth Blockbusters, Pushed this Little Film to the Back of the Pack in the Mann Filmography.

It's a Strange One that Features a Gothic, Psychological, Demented Story of a German-Accented, Cripple (Helene Thimig) well in Her 80's, Suffering from Numerous Disorders of the Freudian Nature.

She Dominates this Bizarre Movie as She is a Force of Nature Trying to Control the "Regular" People in Her Spinning Out-of-Order, Out-of-Sync Orbit.

Played Today it has a Familiar Vibe Utilized in many B-Movies and TV Anthologies.

Not So in 1944. It Displays its Unnatural Universe of Secret Worships and Devastating Dementia with Things Modern Audiences can Hardly Relate.

Pen Pals, Huge Painted Portraits over the Fire-Place, and Misdirected Manipulation by an Old Hag Destroyed by Nature's Unwillingness to Cooperate with Her Demands.

Virginia Grey as a Doctor Confronting Her Peers and Patients Double-Takes because of Her Profession does add a Modern Twist to the Feminine Mystique.

Edith Barrett as Ivy, the Live-In Spinster Companion Forced to Bow and Curtow to the Dynamic Personality of the Old Woman is Simply Superb in a Difficult Role.

A Wicked and Wonderful Movie that has Finally been Given its Due.

A seriously wounded Marine is given the will to live again through letters from a girl he's never met. He arranges to go and visit her when he's home on leave. Aboard a train to where Rosemary lives he mistakenly thinks for a moment that their paths have physically crossed before he arrives. A woman sitting opposite is carrying a copy of 'A Shropshire Lad' book of poems by Alfred Edward Houseman. That is the very book that had brought about the correspondence between the marine and Rosemary.

The woman on the train is Dr Ross who has just become the doctor for Rosemary's household. As Johnny the Marine is about to explain his mistake to Dr Ross the train crashes and many of the passengers are in need of her medical treatment. This brings these two strangers close and romance would have seemed to have blossomed if it wasn't Johnny's love for Rosemary who had saved his life through those letters. But Rosemary is not at home when Johnny finally gets to his destination.

Rosemary's house is on a remote clifftop. There lives Rosemary's mother and her nervous companion Ivy Miller. Rosemary becomes a mystery and her disabled mother is shown to be the kind who may live in a fantasy world for some reason. Tension builds as 'Rosemary's mother' becomes capable of endangering others in her bid to keep the romance between her daughter and Johnny alive. Not one moment is lost in this deft telling of a poor deranged woman who needs to imagine an alternative reality for herself.

It's a dark movie - literally. At the first look at the vileness Hilda Blake (Helen Thimig) you will probably think: this is very bad acting. Than you realize Mrs Thiming is a great actress and that Hilda is a very scary character. There is an interesting romance between a soldier and a woman doctor suffering with a little community prejudice. All the action happens around a very big picture of a beautiful young woman, and the sinister Hilda give orders all the time to her submissive "friend" Ivy Miller (Edith Barrett). It's a pity that in the end the screenplay turns a little dumb in important details. This is the sixth film from Anthony Mann, and its style reminds me the very early Alfred Hichcock.

When you think actresses, the name Helen Thimig doesn't pop right up. But here for a crippled old lady she's scary as heck. And what's this with her daughter Rosemary whose portrait looks like a dolled up version of Laura (1944). Poor Sergeant Johnnie, he's back from the war all bunged up, but can't wait to meet the portrait girl who sent him such beautiful letters but has since gone missing.

Meanwhile he has to content himself with the lovely Dr. Leslie (Grey) who's got her own problems being a woman doctor in a man's profession. And finally there's poor Ivy (Barrett) who acts like a frightened bird, frightened even of herself let alone her employer Mrs. Blake (Thimig). Actually, Barrett and Thimig are alumni of the great Val Lewton's horror series, so it's not surprising that their compelling turns form the movie's gripping core.

Director Mann's noirish touches are evident throughout and perfectly suited to the dark subject matter. Something's up with Blake and daughter Rosemary, but what. That's the crux of the plot. Also, I like the way we get a feel of how the war is affecting the home front, while the obscure William Terry makes a good happy-go-lucky GI in contrast to the sinister mansion. I expect the movie remains obscure because of its sub-60-minute runtime and lowly Republic pedigree. But there's a lot of talent involved in a suspenseful story, making this a minor noirish gem.

I'm actually surprised that this movie hasn't resurfaced as a kind of cult classic in recent years of the digital age. We are all familiar with social media and what "catfishing" is. Strangers In The Night is a wonderfully eerie catfishing tale as it would have taken place in the 1940s before social media. In a way the movie was ahead of its time. For being just under an hour long, though, it sure does have a lot of story packed into it. There's also a feminist element to it (female doctor).