When heiress Jean Courtland attempts suicide, her fiancée Elliott Carson probes her relationship to John Triton. In flashback, we see how stage mentalist Triton starts having terrifying flashes of true precognition. His partner, Whitney Courtland, uses Triton's talent to make money; but Triton's inability to prevent what he foresees, causes him to break up the act and become a hermit. Years later, Triton has new visions and desperately tries to prevent tragedies in the Courtland family. Can his warnings succeed against suspicion, unbelief, and inexorable fate? Written by
Rod Crawford <firstname.lastname@example.org>
Dark powers of his uncanny mind truly foretold: "Marry and your love will dissolve in tragedy's tears." Now..."The Man Who Can See Into Tomorrow"...rushes from exile..to save another loved one he KNOWS will meet destiny on a menacing night when the stars look down. See more »
Gail Russell's car, a Chrysler convertible, is shown entering her driveway, and the license plate "40 R 116" is visible. In the film SUNSET BOULEVARD, William Holden's car, a Plymouth convertible, is described by Finance Man #2 as a "1946 Plymouth convertible, California license 40 R 116" See more »
Edward G. Robinson was not fond of this film. In his posthumous unfinished memoirs he said of Night Has A Thousand Eyes he said it was pure hokum. Robinson did this one as Burt Lancaster used to say 'for the poke'.
I don't think it was all that bad, but definitely could have used room for improvement. Sweethearts John Lund and Gail Russell seek out Robinson who was an old friend of her parents. Back in the day all three were involved in a phony mind reading act when Robinson started showing psychic powers for real. A tip on a horse and another tip on a burgeoning oil field made Russell's father Jerome Cowan a rich man. Robinson who is scared of these new and unwanted abilities just leaves it all to go into obscurity leaving Cowan to marry Virginia Bruce who dies in childbirth bearing Russell as Robinson predicted.
Now however Russell is feeling strangely threatened and seeks out Robinson. After this however the plot gets truly muddled.
The first half of the film is the best and the second half bad, so much so you would think it was two different films spliced together. Some mediocre directing is compensated for by the performances of Robinson and Russell. For Gail it was more of the same as she did in The Uninvited.
Fans of both of these players will probably like it more than Edward G. Robinson apparently did.
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