Tout au long de la nuit

I came to this little-known British movie after watching another film director Basil Deardon had made not long before called "Sapphire" which as its main theme addressed the issue of interracial relationships in today's England. Here, he returns to this territory as he not only transposes the main plot elements of Shakespeare's "Othello" to the then present day but also imaginatively sets it in the jazz world of the time.

I'm no jazz-buff but readily appreciate that for those who are, the presence of big names like Charles Mingus, Dave Brubeck and Johnny Dankworth in the cast will make this film a draw almost for that reason alone. Actually they none of them are on screen for long and only get a few cursory lines and some brief musical interludes between them, so that they don't affect the action elsewhere, but I guess they add a flavour of authenticity to proceedings.

That action revolves around Patrick McGoohan's conniving and devious drummer Johnny, whose only way to forward his career is to co-opt retired singer Marti Stevens into joining his band. To do this he has to remove the two men he sees are in his way, Stevens' former musical accompanist, trumpeter Keith Michell and her new husband, black band-leader Paul Harris.

It all kicks off at a swinging first wedding anniversary party for Harris and Stevens hosted by promoter Richard Attenborough, the guest-list of which includes big-shot record company executive Bernard Braden as Johnny gets to work spinning his web even if it means innocent people's lives will be destroyed.

Deardon daringly posits two mixed-race relationships in the film and laudably does so in a natural and unobstrusive way. The movie itself is very set-bound with the camera rooted in Attenborough's massive apartment, contributing to the theatricality of the piece. McGoohan dominates as the twitchy, scheming Johnny and certainly impresses with his drumming skills, but there's good support for him provided by Michell, Stevens and particularly Harris, who you could easily imagine portraying the tragic Moor in the original "Othello". Betsy Blair also contributes a brief, but telling performance as Johnny's overlooked wife. Interestingly, the tragedy of the original play is given a more Hollywood-style ending, which particularly to those of us familiar with the original, seems a bit of a cop-out, although I can perhaps understand Deardon's reluctance to openly vilify Harris's character, under the circumstances.

Like I said though, the music didn't move me much and the hep-cat jive talk of this cloistered world rather grated after a while, but all in all this was an interesting and provocative modern-day take on the Bard, with a good cast, solid direction and the additional ingredient of some contemporary jazz music for those who really care for it.

"All Night Long" takes "Othello" and transposes it to a jazz setting in contemporary London, or at least the London of the early sixties. It's a great idea, has a terrific cast and how could any jazz aficianado not like any movie that features this much jazz and a cast that includes Charlie Mingus, Johnny Dankworth and Dave Brubeck all playing themselves but there is a but... In place of Shakespeare we get jive and nothing dates as badly as the kind of hip dialogue that jazz musicians are reputed to have used back then. Cool just isn't cool anymore.

On the plus side, it's a Basil Dearden picture so as well as great jazz, and lots of it, we also get intelligence. Dearden knows the pedigree he has here and treats it with due respect and Patrick McGoohan is superb as the Iago figure. Others in the cast include Richard Attenborough, Betsy Blair, Keith Michell and in the Othello/Desdemona roles, Paul Harris and Marti Stevens. Unfortunately Harris and Stevens are the weakest things about the film; their lack of acting experience shows.

It is, however, a brilliant looking picture. Producer Michael Relph designed it along with Art Director Ray Sim and Edward Scaife supplied the superb black and white cinematography and, as I said, the jazz is terrific. However, it wasn't really successful and is among the least revived of all the Dearden/Relph movies but it's certainly worth seeking out and if you love jazz it is simply unmissable.

A rare opportunity to see these two greats in action. Excellent design by producer Michael Relph and cinematography by Edward Scaife. And an auspicious debut by Paul Harris as Othello, excellent work by Patrick McGoohan as Iago and rarely seen Marti Stevens as Desdemona. Major contributions from blacklisted Paul Jarrico for writing and Betsy Blair from "Marty" fame earn a welcome payday in pounds, not dollars. Thanks again, Mr. Shakespeare!

Just imagine: That Shakespearian bigger-than-life plot line, a sixties touch of psychoanalysis, a movie set entirely inside a party of swingers, great interludes featuring amazing jazz performances from some great artists such as Charlie Mingus(music scenes that also explain story line and characters), a slight bit of over-acting in colorful black and white, good filmmaking, interracial couples and drug taking in a 1961 movie, love, hate and, of course, jealousy. Who could possible miss out on these ingredients?

Just beautiful.

I had never heard of this film, so I didn't know what to expect. I figured that anything featuring Attenborough and McGoohan had to be good...and I was right.

The film begins with preparations for a big jazz party honoring Rex and Delia's first anniversary. When they walk through the door, we get a big surprise: Rex is black and Delia is white. (Mixed-race couples were rare on screen in 1962, although they're now "de rigeur" in British TV and film.) When McGoohan's character started his scheming, it finally dawned on me that I was watching OTHELLO in a warehouse!

The screenwriters did a decent job of condensing Shakespeare's play into 90 minutes and bringing it up to date, but they chose to change the ending, which may disappoint die-hard fans of the Bard.

What makes this movie stand out is the cast of supporting characters: great jazz players of the early 1960s. The three headliners are Dave Brubeck (playing "Unsquare Dance"), bassist Charles Mingus, and sax player/bandleader Johnny Dankworth. But there are many second- tier players who contribute to the swinging atmosphere.

This film would be of interest to students of Shakespeare, or lovers of jazz. And if you like the idea of a "jazz summit" in a film, also check out A SONG IS BORN, a Danny Kaye comedy from 1948. The jazzers outshine the actors in that one; in ALL NIGHT LONG, it's a dead heat.