Coeurs enchaînés

If you've read my reviews, you'll know I once nicknamed Ray Milland "Ray Mi-bland" and it stuck. I feel a little sorry for teasing him, since I've seen more of his movies and been exposed to more of his talent. He's a two-time Rag Award nominee now, and he earned his second nomination for his excellent performance in Night Into Morning.

In this heavy drama, Ray leans on the crutch of alcohol to drown his sorrows. Yes, he did that in The Lost Weekend, but unlike his Oscar-winning performance-for which he wasn't nominated for a Rag-in this movie, he has a very good reason for doing it. He starts the movie a happy man with a wife, son, house in the suburbs, and an enjoyable job as an English professor at the local college. There's a freak accident and the furnace in his house explodes, and his wife and son are killed. Let the poor man have a drink or two, for crying out loud!

There are so many great scenes in this movie, including the scene of the accident. Ray is giving a lecture on Shakespeare, and in the background, there's an unusual noise. Shortly afterwards, police sirens interrupt his speech, and then his colleague Nancy Davis bursts into his classroom with the terrible news.

In another touching scene, Ray offers his son's bicycle to a neighbor boy. He's trying to be calm and friendly, but the interaction is too much for him to handle and he explodes, "You can use it. You're alive! Go ahead, take it!" Ray continually bottles his emotions, but when he finally releases them, he'll have you reaching for the Kleenex box over and over again. Trust me, The Lost Weekend was merely a warm-up.

The fifties were pretty alcohol-soaked. World War II had both scarred the collective psyche and ended the Great Depression. The Korea had turned the Cold War hot. Alcohol was the self-medication of choice. It was also just fun, and fun was what filled the leisure that American prosperity had brought the masses.

Yet, this was no longer the era of Nick and Nora Charles or Robert Benchley, when being drunk was cute or comic. So, when imbibing America needed a cautionary tale, Ray Milland was the right protagonist, as he proved in The Lost Weekend. Night into Morning isn't about alcoholism per se but about the response to a horrible tragedy. Lost Weekend was about alcoholism as a lifestyle. Night into Morning is about a binge that is carrying Milland over a precipice.

The casting is flawless. Milland, like Holden, has this seemingly easy way of acting. By being himself, he is the part. I like Nancy Davis better with every new viewing. What I used to regard as wooden, I now see as measured, kind of like the great Anne Revere. Here she's quite believable as a voice of reason, a voice on our behalf, responding to Milland's woes as we should.

And then there's John Hodiak. What can I say? He died so young that everything he was in becomes precious. And this may be one of his best performances, as Milland's best friend and colleague. Hodiak may have been pushed aside when the big stars returned from WWII, but for me he still chews up the scenery. The looks, the voice. It just occurred to me that had Hodiak survived he might well have settled into a Lloyd Nolan career. Dawn Adams gets good screen time as the girlfriend of the lug whom Professor Milland is going to flunk. The bit parts are not neglected. Whit Bissel has a great little turn as a headstone salesman. The cocktail waitress/student appealed to me a lot, and it turns out that Mary Lawrence playing her was 32 at the time!

Aside for the casting, the production is first-rate. There was a trend in the era for location shooting. In this case, Berkeley gets to play the college town, with a long sequence with Davis and Hodiak on campus, and a scene from the Tower. There's also a bang-up crash scene, though by necessity back at the studio.

There are a couple of problems that preclude perfection. There's a a connection with elderly neighbors that doesn't go anywhere. It was great to see Jean Hagan, but her part should have been developed more, in place of the useless footage of the elderly neighbors.

Night into Morning ends with what, to today's ears, seems a corny send-off, "Go with God". As a product of its time, it's not so corny. War hangover, the Holocaust, The Bomb, atheist Communism ginned up by McCarthyism, and the rat race. Plus ordinary misfortune that's always hitting someone, somewhere -- sooner or later you or me. Or just plain ennui. It seems that movies like Lost Weekend, Night into Morning, The Man in the Grey flannel Suit, are appealing to contemporary audiences to use faith and friendship instead of fixes. It's no coincidence that at the same time AA was getting noticed for sending this message.

Perhaps it's the Berkeley locale that appeals to me, but I was riveted by this intelligently written and well acted look at alcoholism. Sure it's treading on similar ground to The Lost Weekend, but this is a much more intimate picture. Milland is outstanding as always, and even Nancy Kelly (Reagan) does well.

Nancy Davis (later Reagan) gives a surprisingly good, sympathetic performance playing platonic friend to well-respected but troubled teacher Ray Milland. Life's woes have caused Ray to hit the bottle hard, but his loved ones quickly rally and offer their support. Heartfelt drama, written by Karl Tunberg and Leonard Spigelgass, is set partially (and quite amiably) at the professor's work-place, an idyllic college campus. Perhaps unintentionally, the filmmakers show that an innocent locale such as this doesn't always guarantee happiness or security, and Milland's personal tragedy leads him to depression and booze. The finale is a bit melodramatic, but the characters are vividly drawn. Not up to "The Lost Weekend" standards, but workmanlike, efficient and quite good. **1/2 from ****

Ray Milland stars with John Hodiak and Nancy Davis in "Night Into Morning," from 1951.

Milland, six years past his "Lost Weekend" performance hits the drink route again in this story of a professor who loses his wife and child in a fire. He starts drinking, and becomes bitter and angry as his two friends (Hodiak and Davis) attempt to hold him together.

This was a predictable movie, but there is an impressive performance by Milland, and a chance to see Nancy Davis, our former first lady, and she does a good job as a woman who knows about loss. John Hodiak is the less understanding and somewhat jealous friend. I liked his role because he acted like a typical male - when his wife or girlfriend's attention is off of him, he becomes upset. I remember when my friend's grandmother was dying, and his uncle by marriage asked his wife how long it was going to last.

What I really loved were the last fifteen minutes or so, which really elevated this film, particularly Milland's speech to his students.

Lovely, and I admit to shedding a tear or two.