Sede de Justiça

MIDNIGHT (Universal, 1934), directed by Chester Erskine, based on a stage play, is reproduced as such in this screen adaptation reportedly filmed and produced in New York City. Headed by Sidney Fox, in one of her final screen roles and last for Universal, she plays Stella, the daughter of Edward Weldon, a jury foreman (O. P. Heggie, the actor most famous today for his role as the blind hermit in THE BRIDE OF FRANKENSTEIN (1935)) at a trial where a woman, Ethel Saxon (Helen Flint) is accused of murdering a man who betrayed her. Because Weldon is solely responsible for the verdict that convicts Saxon to be later executed at midnight in the electric chair, his personal life changes dramatically. Weldon is not only hounded by reporters after the trial, particularly one named Nolan (Henry Hull, the future WEREWOLF OF London also in 1935) who manages to be a guest at his home on the night of Saxon's execution, but he must stand firm with his decision regardless. Stella, who had become acquainted with a man at the trial named Gar Boni (Humphrey Bogart), becomes interested in him, unaware that he is a gangster, but learns about him later on in the story when she notices that he carries a gun. When Gar Boni finds himself having to be forced to leave town, Stella wants to go away with him, but he refuses to let her do so, but agrees on meeting her one last time before he goes. On the very night of Ethel Saxon's execution, Stella and Gar Boni have a farewell meeting in his car. As the switch is being pulled on Saxon, a gun shoots off on Gar Boni. Returning home to her father with the gun in her hand, Stella admits to shooting Gar Boni, which puts the old man into a real predicament as to what to do. Should he stand by his own merits and have his own daughter arrested for the crime, or find a way to violate the law and shield her?

Although the story premise is very interesting, especially the subject about a man who feels a murderer must pay the price, only to have his own daughter commit the same kind of crime of passion, MIDNIGHT fails to deliver mainly because of stiff, stagy production with not so convincing dialog. Under capable hands of a more suitable director, for instance, William Wyler, for example, MIDNIGHT might have worked as a tense and moving drama. Sidney Fox, who usually gives a satisfactory performance, seems to be the weakest link here, talking somewhat shaky at times for no reason. She's not very convincing, especially during her emotional scenes. Occasionally the camera shots moving at different angles keeps the pace moving, but not enough to hold one's interest at 73 minutes.

Other capable members of the cast include Margaret Wycherly as Mrs. Weldon; future director Richard Wholf as Stella's brother, Arthur; Lynne Overman and Katherine Wilson as Joe and Ada Biggers, tenants of the Weldon household; Granville Bates, Cora Witherspoon, Henry O'Neill, and Moffatt Johnston as a district attorney who is called to the Weldon home to solve the mystery to Gar Boni's murder.

To capitalize on the success of future film star Humphrey Bogart, MIDNIGHT was later reissued in 1946 as CALL IT MURDER with Bogey being given star billing, the very print available to video cassette and DVD. It's the former Blackhawk Video Company of Davenport, Iowa, that distributed the movie on videotape with it's original "Midnight" title, opening credits headed by Sidney Fox, O. P. Heggie and Henry Hull, with Bogart's name listed eighth in the cast, as initially presented in theaters in 1934.

MIDNIGHT will never be listed in Hollywood's Top Ten Best list, but it's worth viewing for being an early screen appearance of future superstar Humphrey Bogart or a rediscovery of Sidney Fox, whose movie career (mostly at Universal) lasted only three years. Fox and Bogart had worked together earlier in THE BAD SISTER (1931), which not only became Fox's movie debut, but the future two-time Academy Award winning actress, Bette Davis. (***)

I have recently watched this film again. This time I realized that there is a lot in the movie besides just seeing Bogart in one of his early films. This movie makes a very strong statement about capital punishment. Equally as strong is its statement on who you know if you want to beat a rap. The whole movie takes place during a few hours before the scheduled execution of a woman who killed her lover who was going to leave her. Except for the beginning court scenes, and prison scenes, and a couple of scenes where Bogart is in a room somewhere, and when he and Sidney Fox are in his car, the movie takes place at the home of the jury foreman who found the woman guilty. A news reporter gets into the house with a radio and a surprise at the end so that the public can witness what it's like for that foreman as the scheduled execution time approaches. What you may think is a surprise ending really isn't the end at all. Keep watching for the twist involving the district attorney who has his eye on the governorship. This film, like Bogart and Huston's Beat The Devil, is in the public domain.

Somewhat stagy drama about a jury foreman (O.P. Heggie) who's very strict on law & order convicting a woman of murder and sending her to the chair. Everyone seems to be upset with the juror, including the press and his family. Of note today only because Humphrey Bogart's in it. Unfortunately he has a small part. It's not a bad film of its kind. Heggie is certainly a quality actor. Top-billed Sidney Fox plays his daughter, whose story is where Bogie fits into things. The rest of the cast is okay, with Henry Hull being the most remarkable. It's a movie that obviously has points to make about capital punishment and the legal system not being fair for all. But it's a bit creaky and drags and kind of falls on its face in the final act. Worth a look for Bogart completists. Also of interest to O.P. Heggie and Henry Hull buffs. If there aren't any, there should be!

This early Bogart movie is only available on DVD/video in a reissue print entitled "Call it Murder". This print lists Bogart above the title instead of 8th in the cast as in the original release, and was obviously resurrected to cash in on Bogart's post 1930's fame. He is adequate in a small part, but the film is a slow-moving filming of a 1930 play that is interesting enough as a moral melodrama, but also mercifully short. The interest lies in the sequences in the courtroom and death chamber, which eschew the stage-bound grouping, and ponderous delivery of the body of the film, and uses the camera in an imaginative and cinematic way. Worth a look as a 30's melodrama, but don't expect a Bogart movie.

MIDNIGHT (reissued by "Guaranteed Pictures" in 1947 as CALL IT MURDER with eighth billed Humphrey Bogart - now famous - elevated to top billing for his supporting role) was originally filmed at the Biograph Studios in Queens, New York, for Universal Pictures, based on a Theatre Guild production of the same name (but called IN THE MEANTIME during its tryout tour).

While the stage production disappointed the critics and was not extended beyond its initial subscription run (48 perf., December 29, 1930 - Feb. 1931 at the Guild Theatre), Claire and Paul Sifton's examination of the flaws in the idea that "the law is the law" regardless of justice or tempering with mercy was interesting enough to justify Universal's committing a cast from the top of their second tier to turning out a decent "programmer" to fill the demand for films to keep the screens they controlled occupied between their major releases and training stars in the making (like Bogart and Sidney Fox).

The original play concerned the foreman of a jury, a man named Edward Weldon (O.P. Heggie on screen), which had condemned a woman for the murder of a man who was leaving her - only to find, two acts later, his daughter (Fox) in a similar situation.

Director Chester Erskine (at the start of a career which would see well remembered work on such "A" releases as THE EGG AND I, ALL MY SONS and ANDROCLES AND THE LION, working as director, writer and producer for another 40 years), while unable to produce the figurative "silk purse" out of a possible "sow's ear" of a melodrama, opened up the play, originally set only in the Weldon living room, with excellent - and given the period, surprisingly sophisticated - crosscutting between the condemned woman, the daughter's developing affair and the moral quandary around the Weldon himself.

If the 30's structure of the argument may strike many as dated today, and the "deus ex machina" solution to one of Weldon's problems too pat to be genuinely satisfying, they probably are - but the elder Weldon's overly strict, unbending interpretation of his moral and civic obligations is hardly unknown today as an excuse for lack of thought or bigotry. A remake with more "modern" technique might indeed be well received, but the implicit melodrama would be just as blatant.

While Humphrey Bogart's role is a relatively small one (although it is woven through most of the film), it makes for legitimately fascinating viewing as a transitional role for the handsome actor who had been playing stage juveniles. He had had 15 Broadway roles in the 12 years - and 9 films in the three years - before making this film, but would only have two more Broadway credits afterward (but 66 films). His Gar Boni in MIDNIGHT is very well done in a more modern style than many around him (see the similar effect the young Helen Hayes achieved with the same then "fresh" realistic style in 1932's FAREWELL TO ARMS) before finding the "world weary" persona that won career-making acclaim for his "Duke Mantee" opposite Leslie Howard on Broadway and screen just two years later.

It may be of some interest that on stage, the supporting role of Arthur Weldon (played in the film by future director Richard Whorf) was created by actor/playwright Clifford Odets.

Finding a good print of MIDNIGHT or even CALL IT MURDER may not be easy, but the search may be worth it. Don't expect a polished "modern" film, and shallow film buffs who don't appreciate history or context will probably hate it, but true film connoisseurs shouldn't miss this one for what IS there.