They Drive by Night

They Drive by Night is directed by Arthur Woods and collectively written by Paul Gangelin, Derek Twist and from his own novel; James Curtis. It stars Emlyn Williams, Ernest Thesiger and Anna Konstam. Music is by Bretton Byrd and cinematography by Basil Emmott.

Just released from Pentonville Prison, Shorty Matthews (Williams) visits a lady friend and finds her murdered in her own bed. Pannicking and believing the police will have him marked for the crime, Shortie goes on the run in the hope that the real killer will be caught...

It's still something of a lost British treasure is Arthur Woods' They Drive By Night, it's a film that has gained justifiable high regard by those who have managed to track it down for viewing. Essentially a innocent man on the run picture at its plot core, it's the surrounding meat on the bones that lift it to classic suspense noir status.

The Thrill Of Evil.

It's a picture of persistent rain that lashes the streets and highways, the wind an aural accomplice of some magnitude. A tale infused with grim snack bars, gambling dens, abandoned buildings or artisan abodes that are inhabited by either crafty cockney's, spivs, macho truckers or camp fetishist maniacs! And of course our protagonist is up against it from the off, wherever he turns he seems destined to be the victim of fate and circumstance.

Sex In Relation To Society.

As a portrait of pre Second World War British society it's gloomy and unrelentingly bleak, with Woods (sadly to die in the War) and Emmott achieving a stunning sense of time and place by way of dim lights and contrasts that ensures moody atmospherics go hand in hand with the machinations of the story. This can very much be seen as a forerunner (influence) to some of the great British noirs that followed a decade later.

Studies In Murder.

Some scenes get under the skin and stay there, while others surprisingly enchant the soul; such is their beauty. Lead cast performances are mightily strong, with Thesiger the star as he enters the tale late in the day and turns in a creepy show that startles in the way that calmness of evil is portrayed. While Thesiger's facial features are used to maximum potential by the astute director.

Only real problem here is the musical score by Bretton Byrd. Too often the music is ill fittingly jolly, it immediately conjures up images (to those familiar with 1930s British comedy movies) of the films made by the great Will Hay. Sure enough on examination we find that Byrd did indeed provide the music for four Hay movies in the 30s, and it sadly shows in a film that doesn't deserve such jollification.

Musical problem aside, this is a ripper of a movie, worthy of better exposure and definitely of major interest to anyone interested in the early steps of British film noir. 8.5/10

As the Sydney nights draw in and winter approaches there are times I just want a good, solid movie to keep me entertained for 90 minutes. A story which ticks over, a touch of drama, actors who know their roles and the odd laugh is appreciated but not mandatory.

There aren't many laughs in this movie but it ticks all the other boxes. Shorty is just out of prison and barely finishes his first cup of tea before he is up for murder. If he can remain at large maybe the real murderer will surface. Unfortunately his record marks him down as guilty until proved innocent. The only people who believe him are dancing girl Molly and the foppish Mr. Hoover who steals the last 20 minutes.

You can glimpse into an older period where life was more simple, movies relied on plot over action and murderers hung from the gallows.

Emlyn Williams as Shorty plays a good bad guy. The age of this movie makes him look as if he has been on the run for a few days. The limited use of Ernest Thesiger as Mr Hoover is well timed as the character would lose its impact if he was introduced earlier.

Well worth a watch.

Nice crime thriller that almost seems like a lost Hitchcock film. Moody lighting contributes to the noirish atmoshpere. Ernest Thesiger turns in one of his creepiest performances.

"They Drive By Night" is difficult to find (as are many pre World War II British titles) but well worth the effort. What starts out as a standard crime drama takes a startling turn into horror in the final reel.

Ernest Thesiger (best known as Dr.Pretorius in 1935's "Bride of Frankenstein") adds the most interesting element to the film and to share any more would ruin the fun.

Emlyn Williams as ex-con Shorty Matthews carries the film. Pity this poor fellow...he has the worst luck in the world. Upon release from prison, his intention is to return to the arms of his girlfriend. Unfortunately, someone has murdered her that very day. Naturally, police think he is the killer.

Shorty takes to the road, hitchhiking rides with truck drivers, hoping to stay free long enough for the police to find the real killer. One of the uncredited stars of this film has to be rain! The constant pouring rain accentuates Shorty's troubles as he tries to clear his name and (excuse the pun) adds buckets of atmosphere to the movie.

Don't confuse the British "They Drive by Night" with the later US version starring Humphrey Bogart. The only thing they have in common is the presence of truck drivers.

Anyone who likes film noir, murder mysteries, Hitchcock type adventures about a wrongly accused man on the run from the law or just superbly made 1930s films should watch this.

This isn't set in the care-free, art-deco festooned sunny London seen in most 1930s pictures. This is reality, a dirty smelly reality with real people - at times it almost looks like a documentary but it's not one of those miserable dark and dingy films when nothing happens - a lot happens in this: murders, rapes, kidnapping - plus a bit of comedy to make it palatable. In this it just feels like it's happening to real people making it seem real to you.

For starters, the cinematography is amazing. As film noirs go, this has to be one of the most visually impressive. Expressionism is expressing the feelings of the protagonist through what we see on the screen. Every scene with Emlyn Williams' Shorty is in murky disturbing shadows and as his situation gets worse, that darkness increases and contrasts with the bright lights of Molly's optimism. It's a clever and beautifully made film.

It's a magnificently evocative picture. It immerses you into late 1930s working class life and into London, a proper working class city. A city not of top hats and walking canes but of pubs, petty criminals and prostitutes. We learn there were two groups of prostitutes: dance hall girls (taking their work home) and lorry girls who entertain lonely lorry drivers - those who drive by night.

It's not all darkness however, Ernest Thesiger whose character is the opposite of a nice chap is both horrendously creepy but also hilariously funny. His very dark humour makes this film even better.