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Night Editor (1946) More at IMDbPro »


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Scott Littleton (story)
Harold Jacob Smith (screenplay) ...
View company contact information for Night Editor on IMDbPro.
Release Date:
29 March 1946 (USA) See more »
In the middle of a kiss...Murder!
"Night Editor" was based on the already existing radio program in which a newspaper editor would recount... See more » | Add synopsis »
dvd review: Bad Girls of Film Noir
 (From Leonard Maltin's Movie Crazy. 23 February 2010, 11:35 AM, PST)

User Reviews:
Graveyard Shift is Right See more (11 total) »


  (in credits order)
William Gargan ... Police Lt. Tony Cochrane
Janis Carter ... Jill Merrill
Jeff Donnell ... Martha Cochrane
Coulter Irwin ... Johnny
Charles D. Brown ... Crane Stewart
Paul E. Burns ... Police Lt. Ole Strom
Harry Shannon ... Police Capt. Lawrence

Frank Wilcox ... Douglas Loring
Robert Kellard ... Doc Cochrane (as Robert Stevens)
rest of cast listed alphabetically:
Johnny Calkins ... Boy (uncredited)

Anthony Caruso ... Tusco (uncredited)
Eddy Chandler ... Dickstein (uncredited)

Michael Chapin ... Doc Cochrane as a Boy (uncredited)
Frank Dae ... Butler (uncredited)
Jack Davis ... District Attorney Bill Halloran (uncredited)
Vernon Dent ... Fat Man in Library (uncredited)
Jack Frack ... Reporter (uncredited)
Roy Gordon ... Benjamin Merrill (uncredited)
Betty Hill ... Elaine Blanchard (uncredited)
William Kahn ... Newsboy (uncredited)
Edward Keane ... Police Chief Burns (uncredited)
Robert Emmett Keane ... Max (uncredited)
Donald Kerr ... Reporter (uncredited)
Murray Leonard ... Proprietor (uncredited)
Jimmy Lloyd ... Clerk (uncredited)
Lou Lubin ... Necktie (uncredited)
Cy Malis ... Man (uncredited)
Herman Marks ... Man (uncredited)
Charles Marsh ... Swanson (uncredited)

Frank McClure ... Man (uncredited)
Frank O'Connor ... Detective Andy (uncredited)
Joe Palma ... Newsboy (uncredited)
Ronnie Ralph ... Small Boy (uncredited)
Wally Rose ... Photographer (uncredited)
Larry Steers ... Mr. Graham - Bank Executive (uncredited)
Harry Tyler ... Bartender (uncredited)
John Tyrrell ... Street Sweeper Driver (uncredited)
Emmett Vogan ... J.M. Moppes--Coroner (uncredited)
Charles Wagenheim ... Phillips (uncredited)
Douglas Wood ... Bank Manager (uncredited)
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Directed by
Henry Levin 
Writing credits
Scott Littleton (story "Inside Story")

Harold Jacob Smith (screenplay) (as Hal Smith)

Hal Burdick  radio program

Produced by
Ted Richmond .... producer
Original Music by
Mario Castelnuovo-Tedesco (uncredited)
Cinematography by
Burnett Guffey 
Philip Tannura 
Film Editing by
Richard Fantl 
Art Direction by
Robert Peterson 
Set Decoration by
James Crowe 
Second Unit Director or Assistant Director
Ivan Volkman .... assistant director (uncredited)
Sound Department
Lambert E. Day .... sound (as Lambert Day)
Russell Malmgren .... re-recording and effects mixer (uncredited)
Camera and Electrical Department
Gert Andersen .... second camera (uncredited)
Ned Scott .... still photographer (uncredited)
Music Department
Mischa Bakaleinikoff .... musical director
Ben Oakland .... composer: stock music (uncredited)
Ernst Toch .... composer: stock music (uncredited)
Edwin Wetzel .... music mixer (uncredited)
Other crew
Vera Mikol .... research director (uncredited)

Production CompaniesDistributors
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Additional Details

Also Known As:
USA:68 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Mirrophonic Recording)
USA:Approved | USA:Passed (National Board of Review)

Did You Know?

Anachronisms: Though majority of movie is a prolonged flashback set in the early Thirties, absolutely nothing (with exception of vintage cars) - hairstyles, wardrobe, music, decor - would have seemed out of place in a contemporary story set in mid-Forties.See more »
Jill Merrill:I don't need you, I can buy and sell you.I don't know why I bother seeing you.
Tony Cochrane:You don't know why? I'll tell you. You're rotten through and through.Like something they serve at the Ritz,only its been laying out in the sun too long.
Jill Merrill:That's right, Tony, you're not my kind. The clean cut type.Little tootsie-wootsie loves her great big stupid peasant.
Tony Cochrane:Yeah, for all your dough, like a ton of bricks!
Jill Merrill:How picturesque. And you were totally unresponsive?
Tony Cochrane:You're like a sickness. I was sick!
Jill Merrill:No, Tony it was a fever!
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4 out of 11 people found the following review useful.
Graveyard Shift is Right, 19 October 2010
Author: jzappa from Cincinnati, OH, United States

Night Editor should not be considered a noir. Yes, it has many trappings of the noir narrative: the detective in a moral quandary, a femme fatale, heroic figures giving in to temptations, smoke-filled night-time offices and cars parked in lonely ditches. But this story is told via flashback by a seemingly unrelated "night editor" of a newspaper, playing cards and attempting to enlighten an employee who's been giving in to temptations himself. It turns into a plodding, oversimplified morality play, like one of those original stage productions about depression or quitting drugs in non-profit houses performed by non-actors reading their scripts in hand in front of an audience purely comprised of friends and family. Its ending is painfully trite and manipulated, and the only reason it's considered a noir is because it's a B film from the 1950s with the trappings listed above, not because any fatalistic themes or challenging drama comes organically from the material.

Though the majority of the movie is a prolonged flashback set in the early 1930s, absolutely nothing would have seemed out of place in a contemporary story set in the mid-1940s, from music to décor to hairstyles to wardrobe. I guess it doesn't matter. I don't think we're supposed to feel the time is important, so no attention is really paid to its details. There's a different, though, between playing with narrative time and ignoring it. The difference is not absolute. Nothing is, in my opinion, when it comes to making a good movie. Sometimes we love certain movies for the same reasons that other ones disappoint us, so here the issue could easily lie more squarely in the realm of the drama's believability than technical points.

The cliché portrayed in so many impressions of old-movie acting seem epitomized in Night Editor. The characters so frequently come off as if they've prepared to change their minds, prepared to feel a new emotion, prepared to experience a big realization, act in response, comprehend, when if the actors and filmmakers want us to be with them on those feelings, they need to be completely instinctive, natural things, particularly in a life-or-death state of affairs involving murder or the outing of devastating secrets. The acting feels so affected and put on, indicating changes instead of allowing them. Janis Carter is intriguing regardless, because she perfectly befits the calculating society dame who gets her thrill by being exceedingly cold and injurious. She's devious, hardhearted and knows how to employ sex to get what she wants.

Based on a radio series, it was designed to launch a film series that never materialized. My guess is that the aim was to create a string of hour-long B films like this one, each a different story our eponymous editor would impart. But what of this editor? What does this outer story have to do with the inner one? William Gargan is the noir protagonist who has everything he wants and is not happy in spite of it all, until he tumbles and sees what he'll lose. That's interesting, but having his story surrounded by a moral present-tense waters it all down, and all the dark austerity of the night scenes and the dimension of cheap, tawdry lives is all rendered insignificant, because by the end, it's as if we've played the parts of children being told an old wives' tale about what naughty things not to do or else.

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