Deadline at Dawn

source: Deadline at Dawn

Moviecut—Deadline at Dawn

Deadline at Dawn

This is a strange little movie, which I'm sure is primarily due to Clifford Odets bizarre screenplay, but I freely admit that I really enjoyed it! The plot is somewhat convoluted (although not as hard to follow as some make out) and the ending is a little 'feel good' for a noir but Odets' dialog is what will bring you into it - or push you out. I still can't figure if the way his characters speak is closer to real life than 'regular' movie dialog, or nothing at all like anyone speaks; it somehow manages to be a little of both. One thing for sure is this is not how people normally speak in movies. Strong performances by Susan Hayward and Paul Lukas contribute to the fun; and that's what I found it to be. You've got likable characters, clever dialog, a mystery to solve before dawn, and Susan Hayward looking as good as I can remember. What else do you need?

I have watched this film twice, and each time I was spellbound. It's a nice, tight little murder mystery that keeps your interest throughout the picture. I watched this film being a Susan Hayward fan, and if you like her, you won't be disappointed. She plays a tough broad with a heart of gold underneath her city hardened exterior. However, the film stands on its own with solid performances, a surprise ending, a nice feel for Manhattan, some interesting dialogue, and an interesting plot. According to the trivia posted, Bill Williams, the sailor, in real life was the father of William Katt, the star of the 1980's TV show "The Greatest American Hero" and also of the 1981 video stage version of "Pippin" with Martha Raye. I wondered who Bill was since he was not a well remembered name for audiences today. It's worth watching, especially since you get a feel for the 1940's era with patriotic sailors, dance halls, nightclubs, and denizens of the long forgotten decade.

Explosive lighting by cinematographer Nick Murasaca; a twisty, turning plot by mystery writer Cornell Woolrich; literate dialogue with heart from playwright Clifford Odets; and an estimable ensemble cast of fine character actors, plus a young, beautiful, and surprisingly effective Susan Hayward -- it all adds up to make this a little film noir gem. It's a very New York piece, though it's also an example of RKO Pictures at its Hollywood best. And yet, for a film noir, there's a surprising sweetness, a current of innocence personified by the sailor boy accused of murder in a nocturnal urban jungle of violence, betrayal and corruption. Highly recommended.

The real star of this underappreciated noir is Clifford Odets' dialogue, which you either love or you hate. I love it. Really terrific performances, and even the bit players are memorable. Look for Group Theater vet Roman Bohnen in a tiny role as the building janitor with a dead cat-- "she could practically speak." Or Jerome Cowan, a B-movie actor in a zillion Forties flicks, wonderfully slimy as a Broadway producer. Filmed on a backlot, but it seethes New York more than most location movies.

Harold Clurman directs this screenplay by the acclaimed Clifford Odets. This story finds a young sailor, Alex(Bill Williams), trying to salvage the last few hours of his leave. His head is still spinning after recovering from an alcohol induced blackout with a big chuck of money in his pocket belonging to Edna Bartelli(Lola Lane), who invited him to her apartment to fix her radio. Alex returns to the woman's apartment to return the money and finds her dead. Believing Alex could not be a murderer, a very tired taxi-dancer June Goth(Susan Hayward), reluctantly decides to help the somewhat naive sailor find Edna's true killer. Alex and June only have a few hours before dawn to correct this situation before his leave expires. There are more insignificant characters than clues; I'm happy the killer is not so obvious. And it is always fun to root for a guy like Alex. Other players: Paul Lukas, Jerome Cowman, Marvin Miller, Joseph Calleia, Steven Geray and Joe Sawyer.

It is a shame that this is an all but forgotten example of Film Noir. Hopefully it will make a comeback. A sailor has apparently killed someone and has until dawn to find the real killer. Bill Williams, sort of a poor man's Lloyd Bridges, is serviceable as the sailor. But stealing the entire film and dominating the plot is a wonderful Susan Hayward, who somehow manages to be beautiful, sexy, and tough as nails as she in effect plays a hard-bitten private detective tracking down the truth. I would have loved to have seen Hayward, as a female, play one of those 1940's private eyes, or try her hand at the Stanwyck role in "Double Indemnity". But she's good enough here. If you spot this movie, SEE it. Hayward makes a good movie even better.