A Noite Tudo Encobre

This is one of those films that gets lost in the shuffle when it comes to scary thriller films. It needs a re-look by everyone.

I'll say right off that I'm a huge Rosalind Russell fan but she was sorta bland in this one. She's a lot better in her screwball comedies. She has a co-headliner in this and he should be cause...he's the star.

Robert Montgomery is just super creepy in this. He plays the perfect sociopath in this fine little thriller. You wouldn't think with him in this it would come off as eery and scary as it does but he plays the villain so well it was a pleasure to watch. What makes him so good is that during the film you know he's bad but he doesn't come off that way. It's in a sorta roundabout way with sly inferences here and there. Wait until the end though. Evil finally rears its ugly head.

This film is well worth a look in horror/thriller circles. I think it gets overlooked because of its age. Even for 1937 though, it's damn effective if your gonna watch this on a cold/dark Saturday night. Give it a try and be amazed on how well it works.

Following a grisly murder, a pushy stranger worms his way into a rich, old lady's remote household, much to disapproval of her uptight secretary.

What a good touch when Danny (Montgomery) roughly shoves the house cat and then smilingly tells Mrs. Bramson (Witty) how much he likes the little four-footed critters—a neat introduction to his devious nature. I wish the rest of the movie were this well executed. Aside from being overlong and too talky as other reviewers point out, (some silent mood scenes are badly needed), there's a big hole in the middle that's been generally overlooked. Surprisingly, it concerns that otherwise excellent actress Rosalind Russell.

Key to the plot is the highly refined, severely repressed Olivia's (Russell) conflict over Danny. She's both attracted and repelled by him. He's such a low, boisterous type, it's hard to see her attraction to him at any level. But the script has wisely prepared us with her attraction to dark, woodsy things. Now, the movie's key scene is in the kitchen where Danny boldly confronts Olivia's repressed attraction. To this point, Olivia has had only one outward emotion, namely an emotionless expression consonant with her inner discipline and station in the household. Danny's aim is to force from her an acknowledgment of what he knows she feels even though she won't admit it even to herself.

Crucial to this pivotal scene is that actress Russell convey even the slightest expression of the inner conflict she is now experiencing— conflict we know she's experiencing from the dialog. But try as I have, I can't spot a single change of expression. She's grudgingly okaying the words, but without the necessary conflicted behavior. In short, her words say one thing, her manner another. Thus, we're not drawn into her conflict, we merely observe it in the dialog. And crucially-- instead of becoming active participants in the story, we're encouraged to remain passive observers.

In terms of story development, the role of Olivia becomes unconvincing, especially since the deadpan continues for the rest of the film. It's especially implausible when the plot has her hide the severed head in order to save Danny from the law. As a result, her motivations from the kitchen scene on ring hollow, thereby undercutting her pivotal role in the movie as a whole. It wouldn't be accurate to say that Russell therefore walks through the part in uninterested fashion. Rather, I'm inclined to blame director Thorpe for not providing the proper cues, especially in that key kitchen scene.

At the same time, I wish Montgomery's Danny were not so extreme, bordering at times on the clownish. For a usually restrained actor, it's a real departure, robbing his character of any hint of needed menace. Still and all, the idea of Danny's acting out for the benefit of his "double"— the one that emerges in the mirror scene at the end-- remains a provocative one.

Where Danny's blustery, overdone charm really works is with tyrannical old Mrs. Bramson. His is just the kind of overriding personality that would melt her icy reserve. At the same time, Witty steals the film with a rock solid performance, especially during that exhausting breakdown scene that even had me gasping for breath. I also like that morbid sight-seeing tour with E. E. Clive as the guide. That people would pay to see a gravesite suggests to me the basic gentility of small town England for whom murder is such an unusual and curious event.

I gather from IMDb that studio head L. B. Mayer didn't like the results and didn't want to release the film. Whatever the failings, It's far from being that bad. Ironically, it appears that had Mayer himself wanted to do justice to the material, he would have assigned a top studio director instead of the thoroughly mediocre Thorpe (check out his credits). In fact, the movie as a whole suffers from uninspired direction, its rich atmospheric potential left visually untapped. As far as I can tell, Thorpe simply filmed the script that was handed him and nothing more. After all, his reputation with the studio rested on efficiency, i.e. bringing projects in under budget.

I just wish someone like Hitchcock had gotten hold of the material first. With its rich potential for nuance and atmosphere, a gifted psychologist like Hitch could have made something really memorable. Unfortunately, as the movie stands, it's a long way from that point.

Other commentators have complained about the "talkiness" of this thriller, and it can't be denied that much of the movie's almost-two-hour running time is squandered in the Welsh equivalent of blarney. (Thank original author Emlyn Williams, and remember this was originally a stage play -- in fact, I've seen it on stage, where it may work even better, with its more obvious and mannered mechanisms). You won't find a cast this good at a Wednesday matinee, however. Roz Russell, in plain-Jane getups, plays a definite third wheel to Robert Montgomery's charming psycho and Dame May Whitty's steely but dependent old battleaxe. Whitty walks away with the movie even though wheelchair-bound; she's amusingly annoying and in almost every scene, but at the end, when panic strikes her and she skitters off into hysteria, she shows what a great old trouper she was -- almost the British version of Marie Dressler. If you aren't totally spoiled by the whiplash pacing of today's movies, Night Must Fall still packs a special thrill for lovers of literate, well-acted melodrama. Just be a wee bit patient.

Emlyn Williams suspenseful stage play is given a strong treatment in this atmospheric film. Russell plays the penniless and somewhat dowdy niece of crotchety, cranky Witty, a wealthy, feisty old woman confined to a wheelchair (possibly by her own hypochondria!) When one of the maids of the house is made pregnant, Witty interviews the guilty party (Montgomery) in order to scold him and pressure him into marrying the wayward girl, but instead is charmed to the point of hiring him on as an assistant and care-giver to herself. Russell watches in disbelief and disgust as this snake weasels his way into the heart of the otherwise cantankerous Witty and eventually begins to believe that his cheerful demeanor is a cover for a much darker side. The fact that a beheaded woman's body was found nearby and that he keeps a hat box that is "much too heavy for a hat" only adds to her fears and suspicions, yet she is strangely drawn to him, falling under his spell herself, with only occasional breaks back into cold reality. Russell and Montgomery play a game of mental tennis with Witty as the ball until the situation reaches a fever pitch. Russell does well in a mostly understated portrayal. Her versatility is evident as only two years later she would soar overboard in the classic "The Women". Sometimes, her character's motivations are fuzzy, but she does an able job of standing up to and being drawn to Montgomery. Montgomery is excellent. His innate pleasantness and sunny face mask a truly troubled persona that only comes to the surface occasionally. His interplay with both women, but primarily Witty, is a highlight of the film. Incidentally, in certain scenes and in some long shots, he resembles Jude Law (even on the video cover.) Witty is magnificent in her role as the bitter, lonely old woman whose ice is melted by the new surrogate son in her life. Alternately snippy and delighted, she and Montgomery have great chemistry and are a memorable screen duo. The remainder of the cast is solid and helpful to the ambiance with the possible exception of Russell's rather gooey love interest Marshal (though there isn't much he could have done with that part.) Definitely showing its age and its stage roots, (and clocking in a bit too lengthily) the film is nonetheless entertaining and intriguing for the most part. Interestingly, Montgomery's career as a leading man was not affected by this dark role, yet a couple of years later Cary Grant was prevented from playing one that was far less deranged in "Suspicion" (thus rendering that film's storyline somewhat ridiculous.) Montgomery even scored an Oscar nomination. It's interesting to wonder whether Grant could have gotten one if his character weren't toyed with and how his career path may have changed if he had played the darker aspects (but he could hardly complain about his film success!)

A marvelous suspenseful, tension-filled, atmospheric thriller with absolutely NO "blood and guts," and I thank God for that. This film is intelligent in every respect and requires the viewer to watch with his/her brain switched "ON." "Night Must Fall" is the epitome of an intelligent horror film.

The first time I saw this film I was initially and completely mesmerized by Robert Montgomery's performance. I had not seen him act in any film other than gay '30's farces (with some serious roles thrown into the mix) or WW II films. I always enjoyed his films, but after seeing "Night Must Fall" I began to pay attention to his acting in other films and developed a greater appreciation for his skill as an actor.

Rosalind Russell is a talented, gorgeous actor/wit/comedienne, and is able to fully-utilize her skill in her role. What can I say about Dame May Witty, other than I wish I could travel back in time to see her on the stage in London in her prime. The two other women characters in the home, the cook and the girlfriend/servant, are small but vital roles that each actor plays to perfection.

Additionally, this was that unusual and rare film that was adapted from a stage play BUT was not merely shot as a play. Unless you paid attention to the credits, you would not realize this was a stage play. Not so easy to adapt a stage play to film, keep the dialog flowing properly, turning the play into a film that is meant to be seen as a film.

This film is perfectly written, directed and acted. The lighting and cinematography are superb. The set designs, costumes, etc...............all nonpareil.