During One Night

Furie's little seen DURING ONE NIGHT is another of the director's striking early studies in male anxiety. In his THE LEATHER BOYS of 3 years later such anxiety would be explicitly situated around the lure of homosexuality while in THE IPCRESS FILE, still further on in the director's career, concerns would be more centred around male loyalty. In DURING ONE NIGHT air force captain David is part of an airborne male group, first seen with military and sexual camaraderie intact, flying on their 24th mission - leaving only another before their tour of duty gratefully ends. Things change however when one of their number is badly injured during a flight, an injury which emasculates him. After an emotional bedside description of the injury, then later hearing of the later suicide of his flying companion, David goes temporarily AWOL with a view to proving his own manhood before his number comes up.

As written, produced, and directed by Furie DURING ONE NIGHT was at its recent airing briefly dismissed by a UK listings critic as dated, but in fact is a very interesting piece of work, if handicapped by the sentimentality of an ending which suggests that the only fulfilment of sexual desire between a man and a woman can be achieved by romantic love. But perhaps this unconvincingness is the point, as Furie's script repeatedly refers to a lack of male fulfilment through the traditional routes up until this point, while the unspoken alternative lurks in the background. Both David and his dead companion are virgins despite appearances to the contrary, while during the night in question David fails to perform (or "enjoy the product" as it is expressed) with three women in succession: a prostitute, a sexual hustler and finally the innocent Jean (Susan Hampshire, in her first screen role).

Implicit in David's male circle of friends is a vaguely homosexual bonding. None are overtly gay (this was made a few years before homosexuality was legalised in the UK). Yet David is continually worried at not being 'normal', while his suicidal friend during their bedside meeting hints at the dark options left remaining to a man in his physical condition, when regular sexual activity is denied him. While David repeatedly tries to go through with things with various women in his despondent panic he is only able to succeed, and gain full satisfaction, after a peculiar encounter with a military parson, intimate in all but name, in a field late at night. While the parson is rescuing David from his own suicidal propensity by taking him to the edge, upon reflection it's significant that David can only function and reassert himself as a man immediately after the revelations brought after 'being' with another.

As David, Don Borisenko is rather good, which makes one regret that his film career was relatively short (he apparently stopped acting in the 70's). In a difficult role, too often inviting the sniggers of modern audiences, he manages to convey David's sensitivity and sexual apprehensions very well. Less successful is Hampshire's Jean, another virgin met in the film, whose presence, while certainly suggesting the necessary innocence, is a little flat. Her role demands a self-sacrifice only made 'right' by a commitment more than sexual, and whether or not you accept this as believable will dictate how Furie's script works for the viewer, cynical or not.

In one of the film's best scenes, for a long minute David sings a melancholy ode quietly into his pint glass while, hovering in the background just out of focus Jean watches him from behind the bar. At this point David's isolation is both sexual and social, as he has effectively removed himself from society by his increasing despondency and hitherto sexual failure. Jean of course will find him attractive and help him to find himself. But others will also recognise the coded figure of the outsider, alone at that bar, half-heartedly seeking sexual encounters. If in THE LEATHER BOYS Furie's representation of the homosexual underworld is exaggerated and somewhat fearful, in this earlier representation here the pattern is almost entirely subsumed by the heterosexuality of the setting; only David's internal panics and fears a clue to the suspicions on display.

DURING ONE NIGHT's concern with male anxiety and sexual identity is both dated and modern. And while Furie's view of romantic love as the solver of all sexual angst is peculiarly uneasy - perhaps stemming from a desire to appease traditional mores, the matter of adult male sexual crises, both here and in LEATHER BOYS is unusual and treated with some sensitivity. Recommended as a worthwhile corner of British 60's cinema.

Gifted workhouse director, Sidney J. Furie's palpably bizarre wartime morality play about an especially 'sensitive' captain in the USAF, and his singularly fraught Journey to lose his virginity before a final bombing run, climaxes awkwardly after a series of uncommonly strange happenings! 'During One Night' is demonstratively not great cinema, yet it is, arguably, not an entirely objectionable film either, since it fortuitously errs all-too tantalizingly into proto-John Waters, Ed. Wood Jr. WTF territory. With only a modicum of irony, I earnestly claim that it merits a cautious recommendation for those twisted cineastes who savour the more esoteric elements of forgotten cinema! And, Holy Bromide!!! For the not-yet swinging 1961s, the weirdly didactic potboiler proved to be a remarkably racy one; and should anyone have longed to witness eternal English Rose, Susan Hampshire desultorily disrobing during a 'romantic' tryst in a bucolically-imagined, salaciously straw-slathered studio/barn, well, needfully yearn no longer, because Furie delivers said frisson-inducing titbit with a laudable lack of taste!

While Sidney J. Furie's moderately compelling cinematic oddity, 'During One Night '(1961) aka 'Night of Passion' remains a curate's egg, and stodgy lead actor, Don Borisenko, is stultifyingly imbued with all the electrifying screen presence of day-old semolina pudding, miraculously, the pleasantly naive drama's inadvertent lapses into wholly unexpected mondo movie eccentricity proved fitfully amusing!

Thanks to British television I saw this gem of a film. A War film it shows the terrible anxiety of those engaged in it, but also it deals with both male emasculation ( due to a war wound ) and to the sexual impotence of a fellow air force pilot. It shows the emasculated soldier begging for suicide, and Don Borisenko, his sexually impotent partner in the plane, going with a ' kind ' prostitute who tries to arouse him sexually. Failing he learns of his friend's suicide and in a pub meets up with Susan Hampshire who gently ' helps ' him. A rarity this film was originally cut in the UK ( what's new ? ) and poorly distributed. Even now it is a disliked film, and was poorly rated recently in a certain famous British TV magazine. It is a study of male sexual distress and of course this is not exactly a subject often aired. There is no jingoism about WW2 and that was still expected even in 1960. Quite simply the young man played brilliantly by Borisenko does not want to die before he experiences sexuality and no more spoilers. Psychologically it is a tragic film and as Borisenko says sadly ' boys are different '. His sexual need accompanied by loving tenderness is the core of the film, and the camera is honest in showing the mental distress he is in. Don Borisenko was a real find for cinema but cinema should have given him much more than it did. His acting with Susan Hampshire is full of wonderful moments and the film is about the very natural need for the right kind of sexual intercourse with the right person. Shame on those who consider it either dated or somehow distasteful. Furie directs with sensitivity and the power of many images are amazing.

I think I like this movie. It is a film with small budget, but it is cute, romantic and full of emotions that can make you feeling both sad and sweet in a way. Perhaps people have completely forgotten this little gem. Lately I had also seen another rather nice old film "The Lost Moment", a film which had gained a lot of good comments. However I find this one "During One Night" being even far much better, and I am rather surprised that so far there is no single viewer has left a comment for it (when I was drafting this review). Well, I guess that is the reality. When that one is a Hollywood production with famous stars in the casting, it gains comments and credits. When this one is a small production with new comers (at that time) in the casting, no one talks about it at all. Perhaps even the British themselves have completely forgotten this little gem. For that I really find a bit pity. It is really a nice heart warmed film which has a simple story line but with several rich issues holding one's heart and soul. The acting of the male (Don Borisenko) and female (Susan Hampshires)leading role are good too, really not bad for a new comer. So, when you have a chance to locate this film,watch it. Its pictures and the scenes will time to time stay in your mind.

Watching this film one is reminded of the old joke about Doris Day before she was a virgin; since this features Susan Hampshire before she was signed up by Disney (and with the Bad Girl ironically played by Jackie Collins).

Three years before she briefly but dramatically donned a wet bikini in homage to Ursula Andress in 'Dr No' in 'Wonderful Life', Miss Hampshire appeared nude (if that IS her!) for director Sidney J. Furie in this earnest little drama inspired by 'Tea and Sympathy' about an aspect of life in wartime Britain still little dealt with in films about that time (and that not all war wounds were in the arm), which carried an 'X' certificate in the year of the Lady Chatterly trial.

It could have done without that insistent music score by Bill McGuffie though...