On the Night of the Fire

Ralph Richardson stars with Dana Wynyard in this 1939 film, "On the Night of the Fire."

Richardson plays a barber, Will Kobling, who walks by an open window, sees some money on a desk and steals it.

His wife, in an attempt to keep up with her wealthy sister, winds up owing money to a local merchant. He is somewhat of a loan shark, but when Kit pays him with stolen money, the police become suspicious due to numbers on the bills.

This leads to a great deal of tragedy, with Kobling wanted for murder and ultimately going into hiding.

Ralph Richardson was such a magnificent actor that a good deal of this film is done in silence. It is enormously effective. On the set of The Heiress, Montgomery Clift complained that Richardson never made a mistake.

Despite all his transgressions, we are sympathetic toward Kobling and his wife, Wynyard giving a beautiful performance.

Definitely worth seeing especially for the performances.

A film well worth watching similar in some ways to Odd Man Out about a man on the run and the working class life of a British city but without Carol Reed's cinematic flair. The acting was impressive, especially by Sir Ralph ,Diana Wynyard and Henry Oscar. And by the way the film was made for 1939 audiences not those in 2020.

I am not a specialist of British films from the thirties and forties, but this one, which I discovered at the French Cinémathèque in 1988, amazed me so much. It is a drama, truly tragic thriller drama starring a terrific Ralph Richardson, grabs you, holds you from the beginning till the end. I have always thought that Ralph Richardson had the same face as Michel Serrault, the French actor, who would also had been excellent in this kind of character. The scheme looks like a James Hadley Chase's novel with a lead desperate character who looks like you and me, and who slowly but surely becomes a murderer, because of his mone issues and a blackmailer. A greedy blackmailer. The tooic where audiences can't prevent to become full of empathy for the mai character, no matter what he does to survive. Outstanding British crime flick. By the way, speaking of British masterpieces fromt he forties, what a gem THE WICKED LADY, the Leslie Arliss's film, starring Margaret Lockwood in a kind of Gene Tierney in LEAVE HER TO HEAVEN.

Debate and confusion will always exist about when film noir starts and finishes, or if it should only appertain to one country. Importantly it will always be in the eye of the beholder, more so since many of the film makers back in the day didn't know they were making films that would soon become a film making style phenomenon.

On the Night of the Fire (AKA: The Fugitive) has everything a film noir lover could want. Directed by Brian Desmond Hurst and adapted from F.L. Green's novel of the same name, film stars Ralph Richardson, Diana Wynyard, Romney Brent, Mary Clare and Henry Oscar. Plot has Richardson as Will Kobling, a Tyneside barber in the North East of England, who after spying an open window at the local mill, lets temptation get the better of him and climbs in to steal the money that will hopefully end his family's financial woes. On such impulsive decisions does life alter...

From the off the pic is exuding a period of working class Britain from days of yore! It's all brickwork and cobbled streets, of musky docks, gin houses, beat street coppers and sweat stained barber shops where graft and honest toil is the order of the day. Magnificently hovering over proceedings is a swirling score by Miklós Rózsa (Double Indemnity/Criss Cross) and Germanic cinematography by Günther Krampf (Pandora's Box/The Ghoul), with these in full effect and director Hurst firmly dealing in a mood of pessimism, this really becomes a picture not complying with any sort of code ethics.

The characterisations are superbly dubious, story is awash with folk who are quick to turn on a sixpence to meet their ends. There's hysterical alcoholics, shifty loners, a business man who is not beyond expecting sexual favours to pay off a debt. Added into the pot is murder, blackmail and the corruption of someone we could quite easily sympathise with, all this and the fire that smoothers the town in smog, water and floating burnt cinders. The backdrop is set in noirish stone, Richardson is superb, and then the devilish hand of noir fate steps in to not cheat lovers of the film making medium.

A bit stagy at times and the likes of Mary Clare are too hysterical with their acting - where the director should have reined it in - but small complaints for anyone interested in British Proto-Noir before it even had a name. 8/10

If the only movie he had directed had been 1951's 'A Christmas Carol', Brian Desmond Hurst would have been a great director. Imagine my happiness to watch this movie and discover another great movie from the man.

Ralph Richardson is a barber in a poor street in an unnamed port city; wife Diana Wynard has just given birth to a daughter and money is tight. One evening, Richardson is walking through the street. He passes by a bank and spots a pile of cash. He hops through the window, grabs it, hops back out and goes home -- to a life that involves blackmail, murder, riot and suicide.

It's about two whiskers from straight film noir. Small man seeking a place in a decent society? Check. German Expressionist cinematographer? Check (it's Gunther Krampf, whose work on NOSFERATU was uncredited). Echoes of French Poetic Realism and doom? Check. It misses on a couple of points, like the presence of actual criminal masterminds, but it delivers on almost everything else.

Ralph Richardson is superb -- as he is in every role I've seen him in. For those who like to play spot-the-star, Glynis Johns has a role with two lines in her second year in the movies; she does has a credit at the bottom of the cast list.