Femmes dans la nuit

I think it highlights crimes against all humanity by focusing on one central topic yet the horror lies within the tale in its seedy undercurrent that we are all animals, so whilst the man watches, we know this is wrong but there is always that looming animal side that pesters as desire... yes , we are human but the paradox is by placating our animal basic human instincts we clash against humanity trying to justify an inhumane decision by adjusting the moral compass here and now there, but in the end...?

But here I felt a choking oppression from every angle of this film. The bad guys, the good guys, war is just so consuming, it takes everything whilst leaving nothing, its as though the hitherto human characters forthwith lose all their humanity somewhere along the terrible journey that is war time.

I don't think the salt of the earth , people who want to farm, feed their families, write a poem, enjoy nature a bit can ever ever understand war and all its attendant manifold corroborating threads to any capacity. It is virtually impossible, I think artists have come close , but I don't think anyone has really touched or grasped the concept of the few at the top that benefit from its universal concomitant atrocities.

Pure exploitation film about Nazi's in China nominally to help the Japanese try to win the war and to abuse women. Actually the Nazi's in Asia have come up with a secret weapon that could have helped the Fatherland had they gotten it home before defeat, however Germany has fallen and the Japanese want it only the Germans don't want to give it up. Lurid exploitation film that is supposedly based on actual case files. Other than some note cards about nasty experiments I doubt very highly that any of what we see happened. More unbelievable spy drama mixed with and excuse to abuse women this is the precursor of the Nazi prison camp films of the early 1970's, though with out the nudity and truly graphic violence. I'm not sure what I think of the film. Taken for what it is its not a bad film, but I can't say its the sort of thing that I would willingly watch again since there is a rather mean spiritedness to it all. If you watch it you probably will walk away liking it, but you may hate yourself in the morning

Les Adams's lengthy summary of this production and its plot would suggest he has seen the film.I beg to differ on a few minor points: The hostesses are not all Anglos though there is one from Angleterre. The U.S.,Mexico,France,China and maybe Australia are also represented. The secret wife of William Henry is not Tala Birell, but Virginia Christine. Tala Birell ,the "Shanghai Mata Hari", received top-billing performing superior to the part. The production was filmed over a thirty day period at the Playa Ensenada Hotel in Mexico utilizing some very attractive interior decor. There are a few outdoor scene but they are minor. The plot is not so sordid but the lesbian relationship between the character's played by Jeans Brooks and Bernadene Hayes is clearly indicated. My 16mm print of this film,formerly owned by William K.Everson, is retitled CAPTURED.Film Classics sold off the rights to the film within two years. WOMEN IN THE NIGHT is a great favortte of Elliot Lavine, esteemed San Francisco programmer,formerly with the Roxie Cinema. He has show the film several times at the Roxie and at the Los Angeles Film School. Surviving cast member Iris Flores (Ride the Pink Horse), who played the Mexican hostess, attended the Los Angeles screening with her extended family several years ago, and I understand it was a warmly enjoyed event.

Although Germany surrendered a few months earlier a group of Nazis have ensconced themselves in Shanghai and are working on a "cosmic ray gun" which is supposedly a thousand times more powerful than the atomic bomb that was just dropped on Nagasaki. At first they had planned to give the Japanese their documents but realizing that Japan could not hold out much longer they have decided to stall for time in order to eventually return to Germany with it and start World War III. However, needing to make sure their stall tactics work they seize several Caucasian women who attend Shanghai University and force them to work as "hostesses" for German and Japanese officers. Essentially then, this is a film that bears some resemblance to a "Women-in-Prison" (WIP) picture but being produced in 1948 it skillfully avoids some of the risqué scenes generally found in movies of this type--preferring a more subtle approach instead. Unfortunately, it pretends to be based on historical events and then completely turns history on its head. Likewise, having certain women representing a specific country was a bit too corny in my opinion. But then again, this movie was produced in 1948 and playing up to patriotism was typical for this time. In any case, other than "Li Leng" (Frances Chung) there weren't really any characters who seemed to stand out. In short, while as a WIP film it may have been ahead of its time, it still wasn't that solid and I rate it as slightly below average.

It took me a while to figure out that this movie is set in Shanghai, some time during the atomic bombing of Hiroshima and Nagasaki. The German military establishment (!) masquerading as a hospital is working on a "Cosmic Death Ray", which they are supposed to share with Japan, but do not wish to. They have also arrested half a dozen women of all nations, who are intended to act as dates for high-ranking officials.... when they are not killing German and Japanese officers as part of the Underground.

This mess was directed in Mexico by William Rowland, and it is a mess. Intended to leer at the Production Code, it has some pretty women dressed in elegant evening gowns, one pair of women who seem to be engaged in a Lesbian relationship, and several Chinese-American actors, like Richard Loo and Philip Ahn, who made a living during the War playing despicable Japanese officers, still playing those roles. The only explanation for this production is that it sat around for three years, was minimally revised, and produced in a hurry. That may be an explanation, but it's no excuse.