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"Night Unto Night" is by no means outstanding, but is not the bottom of the barrel effort that some reviewers have claimed. It is a serious attempt to portray two serious personal problems.

The first is the difficult task of coming to grips with the death of a spouse; the husband of Vivica Lindfors' character has been killed in the war (WWII). The second is having to face a serious medical condition; Reagan's character, a scientist, suffers from epilepsy.

The pace of the film is, to say the least, leisurely. The climax, which comes during a Florida hurricane, finally provides a bit of action. The acting is good throughout. Reagan's performance is competent if not outstanding. Vivica Lindfors and Broderick Crawford are better.

The attitude toward epilepsy was somewhat different in 1949 from what it is today, and one sees that portrayed in this film. (I believe that the symptoms displayed by Reagan's character are not accurate.) "Night Unto Night" was produced with the best of intentions, but the final product does not live up to expectations. It is, however, worth at least one viewing.

This fascinating title 'Night Unto Night' was perhaps an American film ahead of it's time. In the late 40's you might expect Europe and Britain would be more prone to produce works with the themes found in 'Night'. Maybe this explains why the film was better received outside the USA.

It's a serious story written by Philip Wylie, also known for 'Island of Lost Souls', 'When Worlds Collide', etc. Here we have a story that reaches into the darkness of the human condition, uncovering the vulnerable surfaces that either hold us together or tear us apart. Obviously, after producing this film Warner Brothers did not quite know what to do with it so, shelved it for over a year. It's more along the lines of the socially conscious stories that First National Pictures were unafraid to make in the 30's IE; 'Heroes For Sale' etc. The screenplay adaptation by Kathryn Scola, who had earlier worked on 'The Glass Key', 'A Modern Hero', etc, has a sharp edge to it, bringing to life Wylies' troubled characters quite nicely. The two European female imports do very well in vastly different character turns. Swedish Viveca Lindfors is near perfect as the haunted feminine lead, while Danish Osa Massen plays her superficial, vampish sister to the hilt.

American Producer Owen Crump, while not generally well known, was himself not unfamiliar with making films in Europe. He is also known to Write: "Zeppelin" 71, ~ and to Direct: "The Couch" 62. The weakest link in this production lies with his allocated Director, Don Siegel. This was only Siegel's 2nd feature and he was not up to the material. Siegel tended to be more suited to the simple 'shoot em up' Eastwood type films.

Visually the film is absolutely stunning. Cinematographer John Peveral Marley who's known for all time classics such as the original 'Count of Monte Cristo' - 'Suez' - 'Night and Day' etc, crafts a treat for the artistic eye with his eerie floating camera, spiraling along dark stairways and over glistening waters. Marley is ably supported by Art Director Hugh Reticker ('Humoresque' etc) who creates a darkly Gothic look and feel to the interiors of Lindfors' rambling beach front house. Also adding a strong sense of mystic mood is Franz Waxmans' music, conjuring up the building torment of the two suffering leads.

Acting honours should go to Broderick Crawford for his strong portrayal as Reagans newly found Artist friend, he's a man who shuns commercialism and offers sympathetic spiritual support to both leads. If it's action you want, you wont get it here. Thoughtful viewers should find rewards if they approach it as a soul searching character study. If this was not meant to be 'A grade', then in so many ways it certainly is. Watch for Craig Stevens, TV's Peter Gunn, who two decades latter would again work for Producer Owen Crump in the 1967 theatrical feature version of 'Gunn'. Recently, at two private film appreciation group screenings of Night Unto Night (with an audience mix of young and older viewers) when the film ended, there was a round of enthusiastic applause, and much discussion followed ~ ninety percent said the film was quality melodrama of the 'superior' kind. Most also said it's one of the best performances they'd seen from Reagan, I have to agree. This unfairly dismissed film is highly recommended for lovers of late 40's romantic noir. Ken Roche......

NIGHT UNTO NIGHT ('49) struggles to be a message film with something important to say about life and love--and does carry an unusual theme. However, despite the dramatic intensity in the performance of Swedish actress VIVECA LINDFORS (who looks radiant in all of her close-ups), no one else in the cast seems to be in the same picture. RONALD REAGAN seems to be sleepwalking through a role he clearly doesn't comprehend, displaying none of the emotional fireworks that Lindfors is capable of. He makes any notion of chemistry with Lindfors seem absurd. A stronger actor might have brought some credibility to his role of a botanist who keeps a dark secret from the woman he loves.

And unfortunately, the supporting roles are too colorless to add much to the proceedings. BRODERICK CRAWFORD is cast inexplicably as an artist in touch with "the truth" and OSSA MASSEN is a bit over the top in her drunken stupor as the jealous sister who reveals Reagan's dark secret to Lindfors at the height of a thunderstorm.

Could have been so much better with a tighter script and more emotional response from Reagan, but this is clearly not one of his better films at WB. Technically, the storm is a stunning sequence--too bad it isn't supporting a better script. Reagan redeemed himself later with some better roles at his home studio but this is clearly a dud.

A curious, brooding drama with metaphysical airs, Night Unto Night holds interest by its very oddity (and to some extent as an early directorial effort by Don Siegel). It's set in pre-boom, primitive Florida near the Everglades and takes its redemptive close during a purging hurricane, along the way touching on transcendent themes - though it seems to confuse spirituality with spiritualism. These are its dramatis personae:

. Ronald Reagan plays a biochemist (!) come to coastal Florida seeking a simple, reclusive life; he's been diagnosed with epilepsy and, man of science or not, he views his condition as a mysterious and terrible curse. So he rents a gloomy old pile of a house from a young widow where he sets up a laboratory to fiddle with his molds and spores. He's a disturbed, perhaps suicidal man, but, Kings Row notwithstanding, Reagan is an actor who leaves the impression of never having been troubled a day in his life.

. Viveca Lindfors is the widow, who must vacate the house because in it she keeps hearing the voice of her dead husband, whose boat was torpedoed just offshore. Lindfors was imported to Hollywood in an attempt to recreate the mystique of Ingrid Bergman, whom she resembled in voice and visage, but the imposture never quite worked. Still, she's as good here as she ever was and gives a glimpse into the thinking that brought her from Sweden.

. Broderick Crawford is a friend and neighbor. In a drastic stretch, he plays a painter who earns his living doing commercial art but saves his talent for vast murals in what looks like the Socialist-realism school. Nonetheless, he serves as the spokesman for faith, which he carries like a chip on his shoulder, waylaying the scientists and psychiatrists he meets with harangues about their puny rationalism.

. Osa Mussen, though a Dane not a Swede, plays Lindfors' twisted sister, a spiteful hedonist who throws herself at Reagan and does not suffer rebuff kindly. She drinks too much and ignites the volatile gases of the plot's alchemy.

The story, from a novel by Philip Wylie (whose 15 minutes of notoriety would come in the mid-1950s with his book Generation of Vipers), has a reach which far exceeds its grasp. While it does hold interest - thanks chiefly to Siegel's shifting but steady pace - it raises questions which it does not bother to (or cannot) resolve. Too many of its strands (the spirit of the dead man, the murderous enmity between the sisters, Crawford's ill-packed intellectual baggage) start to flap in the winds of the concluding hurricane and fly off, never to be seen again. At the end, all that we're left with of the ineffable is plain old guy-meets-gal chemistry.

Stunning photography and Don Siegel's direction make the most of an unusual overly melodramatic story starring Ronald Reagan as a scientist with epilepsy who goes to south Florida on doctor's orders and meets a young woman, (Viveca Lindfors) recently widowed, who is haunted by the voice of her dead husband. Reagan rents her slightly dilapidated beach mansion and experiences several epileptic episodes, but tries his best to keep his condition a secret. Broderick Crawford's role as an artist who lives close by verges on annoying as he goes on and on about art and life. Ossa Massen gives the film a boost as Lindfor's scheming, jealous sister who tries seducing Reagan and later drunkenly blurts out his secret when she realizes that she can't have him. The concluding hurricane arrives just in time, with all the main characters assembled for dinner in the creaky old mansion, and Reagan pushed to verge of suicide by the shame of his medical condition, while Lindfors begs him to reconsider.