Les gens de la nuit

Back in 1954, this spy film appeared on the Silver Screen. When it did, it was not promoted as a spy thriller to audiences. However, this is was one of those particular movies called " Night People " which does produces a bigger bang than one expects. The story as written by Jed Harris and directed by Nunnally Johnson begins slowly and tells of a single United States soldier, Cpl. John Leatherby (Ted Avery) stationed in West Germany shortly after W.W. II. After his kidnapping, the Americans are notified. A noise which is heard in the state department and there after reaches the the parents of the young soldier, who happens to have some very powerful friends, one which takes his millionaire status and starts banging on Washington doors to get his son back. Back in Germany, the problem lands on the stoop of one, Col. Steve Van Dyke (Gregory Peck) who is ordered to resolve the issue. He is an experienced soldier, but is hindered by the boy's Father (Broderick Crawford) who tries to throw his weight around and ably assisted by Sgt. Eddie McColloch (Buddy Ebsen). Dealing with the other major powers controlling the Eastern section of the Berlin Wall, proves a difficult task, what with the rise of the Russians, Ex-Nazis, double agents and political victims all vining for his attention. What we expect as an audience members is a sleeper, instead this film lays the foundation of later Tom Clancy type spy thrillers and Gregory Peck does a notable job in his role. Without hesitation I would recommend this movie due to the participation of Broderick Crawford, Buddy Ebsen, Anita Björk and Marianne Koch, and all the rest of the cast who made this remarkable film a classic. ****

Nunnally Johnson has been awarded every prize a screenwriter can be given. This film, with its many strengths, demonstrates why as well as does any of his efforts. The storyline here is both complex and adult; it is a Cold War thriller with very-strongly-developed characters, fine performances and great B/W production values throughout. Johnson wrote the script from a story by Jed Harris and directed. The story revolves around a Colonel played strongly by Gregory Peck who is in charge of US forces in Berlin who are dealing daily with the four powers governing their sectors there. Three challenges weigh on him at once. The Russian counterpart he has been trying to help defect is murdered; a young US serviceman is inexplicably kidnapped after meeting the German girl he loves, and demands are made by the Russians to get into their hands two persons in exchange for the soldier. Then the young man's industrialist father arrives to complicate matters further, making demands, while the Colonel discovers a traitor in his own circle of operatives. There are many fine performances in the well-chosen cast, headed by Peck's very strong military character, aided by Walter Abel and Buddy Ebsen; others noteworthy include Peter Van Eyck, Max Showalter, Jill Esmond, Marianne Koch, Anita Bjork and Broderick Crawford. Lovely Rita Gam plays the Colonel's secretary and steals every scene she is in. I found the military-parade pre-opening too-long; but the dialogue, characters and situations were everywhere absorbing and amazing memorable; had Johnson done nothing bu the scripts for this and "The Dirty Dozen", his place in Hollywood history would be secure. I suggest that with all its fine technical and creative aspects, when viewers talk about films "they used to make but can't or don't make any more", "Night People" is exactly the sort of powerful and adult film they have in mind.

I really enjoy this movie and have seen it frequently through the years. It has been running on the Fox Movie Channel lately. I think the other comments are probably true, but I enjoy watching the film nonetheless. I love the very end when Gregory Peck is listening to the way the situation he commanded is presented by the news over the radio, while he smokes and surveys the cleaned-up city of Berlin. Peck presents a man who might be in a dirty job but can look himself in the mirror. I agree it is an adult movie in that the characters acted like adults. I felt during the drinking scene Hoffie conveyed that she had some remorse and was tired. (Just before, I enjoyed scene showing the bad feelings between Hoffie and the secretary. "Would you be kind enough to tell Major VanDyke that I am here, please?) Later, it was pretty clear how Hoffie figured out Steve was onto her. The other character I liked was the British fellow. I enjoyed his dialog. I told my British husband about the scene. I also enjoyed listening to the American idiom of the time. I liked all of the characters very much and look forward to seeing it again. Another user mentioned the Oscar for best screenplay for 1954 went to Broken Lance. I liked that movie, too!

This is an extremely well done motion picture. The first directorial job of longtime writer Nunnally Johnson revealed a fine talent which created suspense and captures the audience minds without resorting to chases and explosions. Everything happens indoors, and it is question of brains not of fists.

A magnificent job by Broderick Crawford and Gregory Peck, and a well done investigation into cold war minds, all about the kidnapping by the Russians of an U.S.Corporal in Berlin, in order to exchange him for a couple of elderly Germans wanted supposedly by former Nazis in the service of the Soviets. Everything works wonderfully, until one asks why didn't the Russians kidnap the couple in the first place and save all the trouble.

Curiously, this was nominated to an Oscar for best original story... It lost, and the award went to Philip Yordan for Broken Lance, which was based not on an original story but in the screenplay Yordan had written in 1949 for House of Strangers, from a story by Jerome Weidman.

The Cold War was settling in for a deep freeze when Night People was made in 1953. The story is about the kidnapping of an American corporal on occupation duty in Berlin and the efforts by our military to get him back.

Mind you this isn't any ordinary corporal. Turns out he's the son of Broderick Crawford who is doing a light version of his junk tycoon from Born Yesterday. As it is explained in a line which audiences today might not get, 'he plays golf'. That he was a businessman who played golf was meant that he played regularly with the most famous golfer in America. You could not go a week in the USA of the Fifties without reading in the newspapers or hearing on radio or television about President Eisenhower tearing it up at some golf course. No one born after 1956 or so would possibly grasp the meaning of that description.

So Crawford goes to Berlin to get some action and he runs into Gregory Peck of the Provost Marshal's office who does things in his own time and won't be bullied or influenced.

Peck's role calls for him to be soldier, diplomat, and psychologist all in one. But he's a professional and he carries it off despite a few unexpected wrinkles. One of them turns out to be Anita Bjork who has been working both sides of the Cold War in an effort to obtain her much needed absinthe.

Aiding and abetting Peck in his attempt to free the corporal are Rita Gam as his girl Friday, Sgt. Buddy Ebsen, Peck's non-com aide, and army doctor Walter Abel who has to be on standby at the climax of the film. Why is that, you have to watch Night People to find out, but Abel's needed for a potential emergency.

Berlin ever since the airlift was at the center of the Cold War with the Russians. The wall had not been built yet and after that things kind of settled to an uneasy acceptance until the fall of the Soviet Union. Night People is an average Cold War drama made better by the presence of some A list cast members and a tightly edited script by Nunnally Johnson who also directed.