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Interesting film by director Anatole Litvak creating film-noir with a musical.

Two future excellent directors, Richard Whorf, who bore a strong resemblance to Robert Taylor, and Elia Kazan star. Kazan was also in Litvak's 1940 film "City for Conquest."

The picture has an excellent cast. A group of musicians led by Jigger (Whorf) meet up with gangster Lloyd Nolan while hitching a ride on a train. Nolan likes them when they don't turn him in despite the fact that he holds them up for $5.00!

He brings them to a Road House where the group perform. We have some great musical settings here and the various montage depiction is excellent.

The film is extremely well paced. There is never a dull moment. He moves beautifully from film noir to musical and back to film noir again.

In addition, there is a terrific performance by Bette Field as a Road House girl in love with Nolan, who spurns her. Whorf is hopelessly in love with her and her rejection of him leads to his mental breakdown. How ironic that 16 years after this film, Nolan and Field both appeared in the 1957 film "Peyton Place" but had no scenes together. Field is both catty and quite vicious in this film. It's her viciousness that shall prove to be her undoing.

Jack Carson toots his horn and is wed in the film to Priscilla Lane. One major flaw of the film is their lack of emotional outburst when it is revealed that their baby boy has died.

Everybody's heard of this movie because of the famous title song, but almost nobody's ever seen it. It defies genre classification -- both a musical drama and a sort of missing link between the Warners gangster movies of the 1930s (mugs, molls, and rat-a-tat dialogue) and 1940s film noir (femme fatale, dark shadows, smoky atmosphere, seamy underside of life). It's a genuine one-of-a-kind movie that deserves to be much better remembered than it is.

However, one commenter here needs to refresh his memory; BLUES IN THE NIGHT has nothing whatever to do with the career of Jimmy Lunceford or any other famous musician of the period. It's about a small jazz combo, not a big band, and they begin and end the movie as obscure journeymen living from hand to mouth between gigs.

A band lead by Jigger (Richard Whorf) has trouble landing a job. They get involved with gangster Dell (Lloyd Nolan) who gives them a job at his club. His jealous girlfriend Kay (Betty Field) sets out to destroy the band. Will she?

I'm only giving this a 9 because of the overly familiar story. That aside this is incredible. Nobody in the cast was a name at the time, but they're all very good actors. Field has a fun time in her bad girl role. Nolan is just great as Dell. Whorf is OK as Jigger. Also in the cast (and band) is Jack Carson, future director Elia Kazan and Priscilla Lane (who does wonders with the thankless 'good girl' role). The film is beautifully directed in gorgeous black and white by Anatole Litvak--he makes good use of his low budget and has some very nice sequences using light and shadows. Also there are a few truly bizarre (but fun) montages--they're unlike ANYTHING you'll see in a 1940s film. Also there's some really great music in here.

So...great music, good acting, beautiful photography...and just an OK story.

Still, well worth seeing.

Strange thing about this film--everybody seems to know about it, but it's almost never shown! Try catching it on TCM--their print isn't that great (the image kept shaking) but it's still worth seeing.

This film stars mostly second and third-tier actors from Warner Brothers. Familiar actors like Jack Carson, Priscilla Lane, Lloyd Nolan and Wallace Ford are here, but there is also a starring role by the relatively unknown Richard Whorf as well as a supporting role by Elia Kazan--before he made a REAL name for himself as a director. And while none of these folks are huge stars, they do a fine job and the film has the usual high quality and polish you'd expect from the studio.

This film is sort of like a fairy tale about a group of musicians who love Blues, though it's NOT exactly the same style you'd find in Black America--it's more like a big-band/Hollywood idea of the Blues! It's filled with various clichés (such as the BAD girl who might break up the band) but because it's made so well and the music quite enjoyable, it's still worth seeing. Just be sure you aren't looking for THE Blues! Not great but for old movie fans (like myself), it's worth seeing.

"Blues in the Night" from 1941 is an intense noir directed by Anatole Litvak. The stars are Richard Whorf, Lloyd Nolan, Howard da Silva, Priscilla Lane, Betty Field, Jack Carson, Elia Kazan, and Wallace Ford.

"Jigger' Lane (Whorf), an excellent pianist, puts a band together consisting of Leo (Carson) who plays the trumpet, his wife "Character" (Lane), a singer, and two other musicians, Nickie, and Peppi. These are all musicians dedicated to performing the real New Orleans blues.

They travel by sneaking into boxcars. On one of their trips they meet Del Davis, (Nolan) a gangster. Del has a job for him in New Jersey at a club he owns.

That's where the trouble begins. Powell falls for a good-time girl, Kay Grant (Field), though he drops her when he finds out Character is pregnant.

"Jigger" decides to make Kay the replacement singer since Character is told she can't work. They wind up taking off together. By the time the rest of the band locates him, Jigger's in rough shape and has to enter a mental hospital.

"Blues in the Night" is a turgid drama with a highly dramatic ending. The performances are all good. Field pulls out all the stops as Kay, and Lloyd Nolan is an effective tough guy. Howard da Silva and Wallace Ford are on hand giving sympathetic performances.

The brilliant director and controversial figure Elia Kazan only has seven acting credits listed. Here he's an enthusiastic band member .

The music, with the exception of an awful number at a club where Jigger plays the piano, is fantastic, with some great trumpet playing, though the musician is uncredited.

The song "The Man That Got Away" was written for this film. Harold Arlen didn't like the Johnny Mercer lyrics; some time later, he gave the song to Ira Gershwin to add the lyrics.