The Film Noir Odyssey
Writer: Eugene Ling
Story: Gerald Drayson Adams and Leo Katcher
Director: Gordon Douglas
Cast: Edmond O’Brien, Mark Stevens, Gale Storm, Donald Buka, Gale Robbins
Cinematography: George E. Diskant
Music: George Duning
Studio: Columbia
Release: October 15, 1950
This is my 350th article on the Film Noir Odyssey.
Yes, it’s been nearly 7 years at this point and I’m still somehow miraculously writing weekly articles about noir. When I started this project all those years ago, I suspected that I would probably write 100ish articles, wrap everything up in a bow and move on. But the genre had other plans, hiding many masterpieces in the shadows and all but daring me to continue the journey. It has been at times exhausting and at others exhilarating, but I’m happy to remain on it.
If you’re wondering why I chose a little-known noir called “Between Midnight and Dawn” for my 350th article, the answer is twofold. First, I’ve gotten to most major titles in the genre’s classic period at this point (and probably won’t be covering any more neo-noir moving forward), and I’m purposely saving those few I have not for my final few articles… whenever I reach that point. Lately, I’ve been having a lot of fun digging into these barely remembered films – some are awful, but there have been several diamonds I’ve been delighted to discover.
“Between Midnight and Dawn” is one of them.
Edmond O’Brien and Mark Stevens star as Danny and Rocky, two Los Angeles patrol officers who have become entranced with the new voice on their radio: Kate (Gale Storm). They ask Kate out, but she resists – her father was a beat cop before he was killed on duty, and she does not want to go through the pain and grief her mother did. But the duo slowly win Kate over, and she ends up becoming engaged to Rocky. Concurrently, underworld evil dude Ritchie (Donald Buka) keeps crossing paths with our heroes, and after they arrest him for murder, he swears revenge… no matter what it takes.
For the first hour (hour!), the film feels much, much more like a romantic comedy than it does a film noir. Not just a romantic comedy, but one of the playfully naughty ones that Ernst Lubitsch used to direct like “Trouble in Paradise” or, specifically, “Design for Living.” The screenplay by Eugene Ling (“Behind Locked Doors”) goes to insane lengths to frame Kate’s character as dating both men. Yes, up until Kate finally chooses Rocky, the only way the movie addresses the relationship between the three characters is as a throuple. Their dialogue crackles, light and comedic… the only other noir film I can even come close to comparing it to is the half noir/half musical “Blues in the Night,” but this is even lighter.
The subplot concerning Ritchie feels like an afterthought until the incredible car chase set-piece about an hour in. And by that point, the filmmakers have succeeded in making you care deeply about the main trio – all that joy and comedy was to ensure that when the darkness creeps in, it has even more impact because it seems foreign to this world.
When the violence comes, it’s rough. You have a sinking feeling that Rocky’s days are numbered when Ritchie escapes from prison, but to be shot in the head in a drive-by, “On Her Majesty’s Secret Service” style, is especially brutal. The film goes to lengths here and in the earlier chase sequence to not sideline Kate – indeed, making her helplessly listen while the two most important people in her life may well die is emotionally shattering. And the climactic set-piece is equally brutal, with way more gore than you’d expect from a film made in 1950.
I run hot and cold with O’Brien, but this is the best performance I’ve seen from him by a wide margin. He works well with the earlier comedic stuff but comes alive as the grieving live wire desperate to avenge his best friend. Stevens is one of the most underrated actors from his generation and is oh-so charismatic here. Further, he sparks crazy chemistry with both O’Brien and Storm. Speaking of Storm (who has, for my money, the best name in Hollywood history), she clearly is having a ball in the early sequences and also nails every emotional beat necessary from her in the final half hour.
The rest of the ensemble isn’t bad either. Of particular note is Buka, who oozes anger and cockiness – he’s a great villain. And Lora Lee Michel as the young Kathy avoids everything that normally makes me grate against child actors. This was one of Michel’s last films, and her life would be an incredible noir film itself – look it up. Here’s a tease… no one knows whether she is still alive or dead.
Gordon Douglas directed films in every genre, including several noir like “Walk a Crooked Mile.” I suspect his experience in other genres was why he could walk this tonal tightrope as beautifully as he does. He also collaborates beautifully with cinematographer and noir superstar George E. Diskant (“The Narrow Margin,” “On Dangerous Ground” and many, many others) to bring Los Angeles to life. The centerpiece chase sequence is simply outstanding – I have no idea what the budget was for the film, but they used every penny incredibly well. It’s one of the best such sequences I’ve seen in noir.
So why isn’t “Between Midnight and Dawn” considered the classic it absolutely should be by now? It’s hard to say. The logline isn’t exactly gripping in the same way movies like “Leave Her to Heaven” or “D.O.A.” are, which may be part of it. It doesn’t have a Bogie or a Crawford at the forefront, even though the main trio should be well-known to noir afficionados. And Douglas isn’t well remembered today despite his good work over decades. It could be any of the above reasons… or the fact that modern critics seem intent on lumping in neo-noir into all noir, which leaves much less room for classic noir on their thin lists and think pieces written by people who haven’t actually done deep dives into the genre. Whatever the case, this is a wonderful film and one of my favorite discoveries on this Odyssey. Track it down – it’s worth the effort.
Score: *****
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