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Midnight (1934)Jury foreman Edward Weldon's questioning leads to the death sentence for Ethel Saxon. His daughter Stella claims to have killed her lover, the gangster Gar Boni, just as Saxon was to sit in... See full summary » Director:Chester Erskine |
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Title: Midnight (1934)
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Cast
| Complete credited cast: | |||
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Sidney Fox | ... | |
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O.P. Heggie | ... | |
| Henry Hull | ... | ||
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Margaret Wycherly | ... | |
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Lynne Overman | ... |
Joe Biggers
(as Lynn Overman)
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Katherine Wilson | ... | |
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Richard Whorf | ... | |
| Humphrey Bogart | ... | ||
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Granville Bates | ... | |
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Cora Witherspoon | ... | |
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Moffat Johnston | ... |
Dist. Atty. Plunkett
(as Moffat Johnson)
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Henry O'Neill | ... |
Ingersoll
(as Henry O'Neil)
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Helen Flint | ... | |
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Plot Summary
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Storyline
Jury foreman Edward Weldon's questioning leads to the death sentence for Ethel Saxon. His daughter Stella claims to have killed her lover, the gangster Gar Boni, just as Saxon was to sit in the electric chair. Written by richardann
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Details
Country:
USALanguage:
EnglishRelease Date:
7 March 1934 (USA) See more »Also Known As:
Call It Murder See more »Filming Locations:
Biograph Studios, Bronx, New York City, New York, USACompany Credits
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Technical Specs
Runtime:
Sound Mix:
Mono (Western Electric Wide Range Sound System)Color:
Black and WhiteAspect Ratio:
1.37 : 1
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Ethel Saxon: You see, I loved him. I mean I loved him when... when he didn't love me anymore, day in and day out watching him get further and further away from me. I could see in his eyes when he looked at me... I could see he hated me, hated me because I needed him. Oh, I was so frightened, so mixed up. It's so horrible to see someone who's become part of you slipping away, slowly. To feel helpless and empty, lonely and frantic, wanting to do something, anything, anything to bring him back! To...
[...]
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(uncredited)
Music by Felix Arndt
Played on the radio as Nolan is demonstrating the set to Joe.
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Did You Know?
Trivia
Based on the flop play, Midnight (1930). Drama. Written by Claire Sifton and Paul Sifton. Directed by Philip Moeller. Guild Theatre: 29 Dec 1930- Feb 1931 (closing date unknown/48 performances). Cast: Maud Allan, Glenn Anders (as "Bob Nolan"), Harold Bolton, Zena Colaer, Josephine Hull (as "Mrs. Weldon"), William R. Kane, Jack La Rue (as "Gar Boni"), Tom H.A. Lewis, Harriet E. MacGibbon (as "Ada Biggers"), Clifford Odets (as "Arthur Weldon"), James Parker, Frederick Perry, Francis Pierlot (as "Richard McGrath"), Charles Powers, Samuel Rosen, Neal Stone, Robert Strange, Fred Sullivan, Royal Dana Tracey, Louis Veda (as "Photographer"), Harold Vermilyea (as "Joe Biggers"), Linda Watkins. Produced by The Theatre Guild. See more »Quotes
[first lines]Ethel Saxon: You see, I loved him. I mean I loved him when... when he didn't love me anymore, day in and day out watching him get further and further away from me. I could see in his eyes when he looked at me... I could see he hated me, hated me because I needed him. Oh, I was so frightened, so mixed up. It's so horrible to see someone who's become part of you slipping away, slowly. To feel helpless and empty, lonely and frantic, wanting to do something, anything, anything to bring him back! To...
[...]
See more »
Soundtracks
"Nola"(uncredited)
Music by Felix Arndt
Played on the radio as Nolan is demonstrating the set to Joe.
See more »
One must judge this movie along-side its contemporaries. It is an outstanding example of the numerous "women with law problems" pictures of the Thirties. It avoids the sentimentality and masochistic suffering that the female lead predictably, and monotonously undergoes. Instead of a simple morality tale, with the focus on a single character's torment, we are presented with one of the earliest examples of Noir that I know, complete with dark despair, pessimism, and cynicism. The Law, in-laws, ambitious DAs, insensitive fourflushers and amoral bourgeois relatives, and an ambiguously moral reporter all serve to subvert the movie's latent sentimentality and cause us to question our moral bearings. Bogart is excellent in his brief role, but it is ridiculous to judge this movie by his screen time. All the acting is excellent (save Ms. Fox?) and the casting superb. The direction is inventive, especially considering the confining main set, with many startling close-ups, camera angles, and tableaux. Consider this movie in terms of the original "Chicago" (the play, 1927), its remake as the movie Roxie Hart (W. Wellman, 1942) and "Chicago," 2002. You'll see it has a lot to add to this theme, and is worthy of consideration in its own right.