A Patrulha da Morte

I found this movie to be very enjoyable to watch. There was no masterful overriding story, but it moved along at a good pace, was quite genial and had no faults. It might be called an early "procedural" in today's lingo: lots of radio squad car scenes, beaming messages in cop talk back and forth, well photographed auto chase scenes and shootouts. The directing, script, acting and cinema-photography were superior. In the movie the cops were all righteous and the criminals all incorrigibly bad.

Three things stood out for me, favorably: (1) I was always a big Gale Storm fan, stemming from my childhood watching of "My Little Margie" re-runs on TV (Gale was the co-star of the TV show, and part of the romantic triangle in this movie). (2) The repartee was often witty and jocular and never off-putting. For example, on an early date, Officer Rocky Barnes (played by Mark Stevens) is having his first dance with Gale Storm, and, holding her tightly he says, "I've been waiting a long time for this." She replies, "I can believe it. I feel a rib cracking." He responds, "Oh, control yourself, Barnes. This lady's got to last." (3) The relationship between the two police partners (Stevens and Edmond O'Brien) was friendly and jocular. It was nice to observe their respect for each other. Both were quite competent. O'Brien was the more serious, cynical and hard on criminals. Stevens was more relaxed and sensitive to criminals' feelings.

Ed O'Brien and Mark Steven are cop buddies. Gale Storm (whom I had a crush on as a child) plays a female police dispatcher (I think she is miscast here). The film revolves around these three main characters and a lowlife sleazeball who runs the rackets in the city. Another lowlife tries to horn in on Mr. Local Sleaze, but gets dispatched with efficiency by the kill-happy thug. When convicted in court and sentenced to fry, he vows revenge on the two cops. Margie, I mean Gail Storm, logically falls for Mark Stevens, who is slimmer and better looking than O'Brien. And the film is fine up to that point. Then it kind of veers off in undesirable directions and I am sure audiences were disappointed with the final half of the film. I will let you be the judge.

I would be lying if I said that I know Gordon Douglas' work as director. I did see his 1954 sci-fi effort, THEM, which was OK and in line with the many sci-fi movies of the 1950s, but it did not exactly stay in my memory.

BETWEEN MIDNIGHT AND DAWN is an entirely diverse kettle of fish: no sci-fi, plain human emotions as two cops - Stevens and O'Brien - try to discharge their police duties both manfully and professionally.

One spanner in the works: Stevens likes the voice of a police phone operator, pretty Gale Storm, gets to meet her, whereupon a second spanner springs up: both cops love Storm. O'Brien gentlemanly lets Stevens sweep the lady off her feet but from that point on one recalls his words that it would get "crowded" if all three went out together... and one knows that one of the coppers will be sacrificed for the sake of the plot (poor Edmond had already played a bigamist, he probably did not wish to repeat it and become stereotyped as cheater).

Cinematography and script are OK, some notable police car chases do not hurt, though for the most part this film looks and feels more like a B product - the cast is what raises it above that status.

Acting is uniformly competent, with Donald Buka stealing the show as the clean-faced criminal who thinks nothing of using a child as shield. O'Brien delivers a performance as dependable as that of the cop he portrays.

Certainly no waste of time. 7/10.

Between Midnight and Dawn is directed by Gordon Douglas and adapted to screenplay by Eugene Ling from a story by Gerald Drayson Adams and Leo Katcher. It stars Edmond O'Brien, Mark Stevens, Gale Storm, Donald Buka and Gale Robbins. Music is by George Duning and cinematography by George E. Diskant.

Stevens and O'Brien play two prowl car cops, long time friends who fall for the same woman (Storm), but that could never come between them. That's the job of rising crime boss Ritchie Garris (Buka)...

On the page it looked as if it easily could have got bogged down by romantic threads and buddy buddy cop formula. Thankfully that isn't the case. Finding its way into a number of film noir publications, it's a pic that only just qualifies on account of certain narrative thematics and the night time photography of the always excellent Diskant.

On its own terms anyway it's a damn good policer, one that is handled with knowing direction from Douglas and features the reassuring presences of Stevens and O'Brien, both of whom play cops with different attitudes to the job, but both believable and never played as trite good cop bad cop fodder.

In the lady corner are Storm and Robbins, the former in the middle of our twin testosterone fuelled coppers, and the latter the gangster's moll. Both sultry and beautiful - even if Storm is sporting a hairstyle that equally is both distracting for the character and does her obvious sexiness no favours, but both the gals are written with thought and performed as such.

Then there is Buka as scumbag Garris. This character clearly has ideas above his station, something which our coppers gleefully like to remind him of. But Garris is a nasty piece of work, which ultimately leads us to a thrilling and suspenseful finale. Buka (The Street with No Name) really should have had a bigger noir/crime film career.

Sometimes funny and laced with choice dialogue, this still also manages to impact with dramatic, suspenseful and attention grabbing scenes. This a film that's easy to recommend to lovers of 40s/50s policer movies; it's also pretty bloody for the time. There's a great crew behind this and they don't let anyone down. 7/10

Mark Stevens and Edmond O'Brien are buddies from the war. Now they are cops together in the same patrol car. When Gale Storm comes into their lives, it seems that they might fight, but O'Brien bows out gracefully. This is, until hoodlum Donald Buka escapes from prison and kills Stevens.

One of the reasons that O'Brien is so good in his B pictures around the end of the fifth decade of the 20th Century is that he looks like an ordinary Joe: all right looking, but nothing to right home about, and he could afford to take off a few pounds. For anyone else, this would have meant supporting roles, and he did a lot of those. However, he also played leads in noirs and cop movies like this one, and even westerns. That's because he typified how American men thought of themselves: ordinary people, yeah, but capable of important things. To watch his descent into brutality after Stevens' death here, even with the Production Code still in force, is a fine bit of acting.