5.6/10
719
29 user 7 critic

Midnight (1934)

Not Rated | | Crime, Drama, Film-Noir | 7 March 1934 (USA)
The foreman of a jury asks questions that send a woman to the electric chair for a murder committed in the heat of passion. On the night of the execution, his actions come back to haunt him.

Director:

Chester Erskine (as Chester Erskin)

Writers:

Paul Sifton (play), Claire Sifton (play)
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Cast

Complete credited cast:
Sidney Fox ... Stella Weldon
O.P. Heggie ... Edward Weldon
Henry Hull ... Nolan
Margaret Wycherly ... Mrs. Weldon
Lynne Overman ... Joe Biggers (as Lynn Overman)
Katherine Wilson Katherine Wilson ... Ada Biggers
Richard Whorf ... Arthur Weldon
Humphrey Bogart ... Gar Boni
Granville Bates ... Henry McGrath
Cora Witherspoon ... Elizabeth McGrath
Moffat Johnston Moffat Johnston ... Dist. Atty. Plunkett (as Moffat Johnson)
Henry O'Neill ... Ingersoll (as Henry O'Neil)
Helen Flint ... Ethel Saxton
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Storyline

The foreman of a jury asks questions that send a woman to the electric chair for a murder committed in the heat of passion. On the night of the execution, his actions come back to haunt him.

Plot Summary | Add Synopsis

Plot Keywords:

murder | execution | trial by jury | See All (3) »


Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

Latin | English

Release Date:

7 March 1934 (USA) See more »

Also Known As:

Call It Murder See more »

Company Credits

Production Co:

All Star Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Wide Range Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

When this film was re-titled 'Call It Murder' and re-released theatrically by Guaranteed Pictures Corporation in 1947, it was most frequently shown in tandem with 'Racketeers.' the re-titled re-release of The People's Enemy (1935). See more »

Goofs

During Stella and Gar's first meeting in the court room, audible clicks can be heard between their line. 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 »

Alternate Versions

In the retitled version, "Call it Murder" Humphrey Bogart's billing is moved to above the title. See more »

Connections

Referenced in Press Gang: Day Dreams (1992) See more »

Soundtracks

Nola
(uncredited)
Music by Felix Arndt
Played on the radio as Nolan is demonstrating the set to Joe.
See more »

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User Reviews

 
Morality Tale, Or Noir?
12 December 2005 | by abbyartSee all my reviews

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.


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