IMDb > So Ends Our Night (1941)

So Ends Our Night (1941) More at IMDbPro »

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Release Date:
27 February 1941 (USA) See more »
HERE IS THE PICTURE YOU WILL SEE WITH YOUR HEART! (original print ad - all caps) See more »
Story about three German refugees during World War II who are always hiding, always in fear of deportation. | Add synopsis »
Nominated for Oscar. See more »
The Southerner
 (From Trailers from Hell. 26 January 2016, 10:22 AM, PST)

User Reviews:
Sincere, But Sluggish See more (11 total) »


  (in credits order) (complete, awaiting verification)

Fredric March ... Josef Steiner

Margaret Sullavan ... Ruth Holland

Frances Dee ... Marie Steiner

Glenn Ford ... Ludwig Kern

Anna Sten ... Lilo

Erich von Stroheim ... Brenner
Allan Brett ... Leo Marrill

Joseph Cawthorn ... Leopold Potzloch

Leonid Kinskey ... The Chicken

Alexander Granach ... The Pole

Roman Bohnen ... Mr. Kern

Sig Ruman ... Ammers (as Sig Rumann)
William Stack ... Professor Meyer
Lionel Royce ... Barnekrogg

Ernst Deutsch ... Dr. Behr
Spencer Charters ... Swiss Policeman

Hans Schumm ... Kobel
Walter O. Stahl ... Police Captain

Philip Van Zandt ... Bachmann
Frederick Vogeding ... Gestapo Colonel (as Fredrik Vogeding)
Joe E. Marks ... The Bird
Gerta Rozan ... Elvira
James Bush ... Herbert

Emory Parnell ... Weiss
Kate MacKenna ... Mrs. Ammers
Edit Angold ... Mrs. Ammers' Sister (as Edith Angold)
Edward Fielding ... Durant

Wilhelm von Brincken ... German Official (as William von Brincken)
Gisela Werbisek ... The Harpy - Ruth's Roommate
Lisa Golm ... The Pale Woman - Ruth's Roommate
Adolph Milar ... Black Pig Proprietor
rest of cast listed alphabetically:
Stephanie Toler
Venita Vincent

Georgia Backus ... Mrs. Kern (uncredited)
Eugene Borden ... Gendarme (uncredited)

Harry Cording ... Card Player (uncredited)

Dick Curtis ... Gestapo Stormtrooper (uncredited)
Gretl Dupont ... The Slattern (uncredited)
Brenda Fowler ... Woman in Prague (uncredited)

Olin Francis ... Friend of Weiss (uncredited)
Frederick Giermann ... Doctor (uncredited)

Bernard Gorcey ... Carnival Barker (uncredited)
Paul Leyssac ... Swiss Judge (uncredited)
Tony Merlo ... Waiter (uncredited)
Ted Oliver ... Friend of Weiss (uncredited)

John Picorri ... Card Player (uncredited)
John Piffle ... The Bird's Associate (uncredited)

George Rosener ... Custom Guard (uncredited)
Hector V. Sarno ... Man in Refugee Station Line (uncredited)

Stephen Soldi ... Chef (uncredited)
Hermine Sterler ... Berlin Nurse (uncredited)

Janet Waldo ... Jacqueline (uncredited)

Wolfgang Zilzer ... Vogt (uncredited)

Directed by
John Cromwell 
Writing credits
Erich Maria Remarque (novel "Flotsam")

Talbot Jennings 

Produced by
Albert Lewin .... producer
David L. Loew .... producer
Original Music by
Louis Gruenberg 
Cinematography by
William H. Daniels 
Film Editing by
William Reynolds 
Production Design by
William Cameron Menzies 
Art Direction by
Jack Otterson 
Sound Department
Bernard B. Brown .... sound supervisor (as Bernard Brown)
Paul Neal .... sound technician
Special Effects by
Jack Cosgrove .... special effects
Camera and Electrical Department
Ned Scott .... still photographer (uncredited)
Costume and Wardrobe Department
Irene Saltern .... wardrober
Other crew
Stanley Kramer .... production assistant
Virginia Lee Corbin .... stand-in: Frances Dee (uncredited)
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
117 min | UK:122 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Noiseless Recording)


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5 out of 6 people found the following review useful.
Sincere, But Sluggish, 7 February 2010
Author: bkoganbing from Buffalo, New York

So Ends Our Night is based on the Erich Maria Remarque novel Flotsam which describes the plight of refugees in Europe, dislocated from their homes and sometimes families as a result of the politics of tyrannical European states, specifically Nazi Germany. Any place they went the refugees were not welcomed becoming a drag on the economy of any place they lived. The film concentrates on a group of several now stateless Germans who seem to keep running into each other. The novel came out in 1939 before a formal war started, but the German intentions were becoming clearer every day.

Specifically it concentrates on Fredric March who was an underground member in Germany who had to leave in a hurry, he could not take his ill wife Frances Dee. March becomes a surrogate parent to both Glenn Ford and Margaret Sullavan who find a difficult path to love when they're first concern is survival.

Previous to So Ends Our Night coming out, Remarque novels such as All Quiet On The Western Front and Three Comrades were filmed with marked success by both Universal and MGM. All Quiet On The Western Front won a Best Picture Oscar and a Best Director Oscar for Lewis Milestone and Three Comrades got good critical reviews in 1938. Margaret Sullavan was in Three Comrades and she was the love interest of one of the comrades, Robert Taylor. Would that So Ends Our Night was as good.

The performances by the players were all good, Glenn Ford was lent out from Columbia Pictures for his first A film and got great reviews as a tender callow youth. He and Sullavan seemed to have good chemistry, but the film lacked the production values that a major studio could have given it. And the script seems to drag and the direction is sluggish.

Margaret Sullavan who specialized in playing tragic heroines who are escaping from the Nazis, she just came off doing The Mortal Storm for MGM which is about folks about to become refugees. Compare that film with MGM quality on it to this one and you'll see what I'm talking about. According to a biography about her by Lawrence Quirk she resented the way the title was changed, preferring that it be called by the novel's rightful name. This name implied all kinds of innuendo that the film never delivered. True, but that was a common enough practice back in the day. And So Ends Our Night needed any and all help to get the movie going public into the theater.

In that same book Fredric March and Glenn Ford both praised Sullavan's abilities and considered a milestone to have been able to work with her. Sullavan in fact got director John Cromwell to direct Ford as a callow and clumsy youth in matters of love whereas he'd come off like Cary Grant in earlier takes. I think she was on target there.

Still the film definitely needed major studio backing to have put it over better.

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