"Night Editor" was based on the already existing radio program in which a newspaper editor would recount the 'inside story' of some bit newspaper story, and later became a television series...
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Another of the "Fate and Irony" films from director-writer-producer-actor Hugo Haas but this one has less hair-shirt torment than most of his offerings, although his camera, as usual, ... See full summary »
Jerry McKibbon is a tough, no nonsense reporter, mentoring special prosecutor John Conroy in routing out corrupt officials in the city, which may even include Conroy's own police detective father as a suspect.
"Night Editor" was based on the already existing radio program in which a newspaper editor would recount the 'inside story' of some bit newspaper story, and later became a television series: This time, a night editor of a newspaper is telling a story to a young reporter, who is neglecting his job and wife and beginning to drink too much. The story begins as a police detective, although devoted to his wife and young son, has entered into an affair with a society girl, also married, and while they are parked out in the boonies on a lonely road, they witness a murder. The detective, because of the circumstances of being where he is for the reason he is there, does not attempt to catch the killer and does not report the crime. He is later assigned the case and soon realizes that an innocent man is about to take the blame, and the only way he can clear him is to arrest the killer and become a witness against him. The story-teller also has a vested interest in the old case.Written by
Les Adams <firstname.lastname@example.org>
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 »
I don't need you, I can buy and sell you.I don't know why I bother seeing you.
You don't know why? I'll tell you. You're rotten rich through and through.Like something they serve at the Ritz,only its been laying out in the sun too long.
That's right, Tony, you're not my kind. The clean cut type.Little tootsie-wootsie loves her great big stupid peasant.
Yeah, for all your dough, like a ton of bricks!
How picturesque. And you were totally unresponsive?
You're like a sickness. I was sick!
[...] See more »
This is a superb film noir B picture. It stars William Gargan as a cop, and the sizzling dish Janis Carter as the femme fatale. And what a femme and how fatale! She is really something. What a pity she did not achieve the status in films which she clearly deserved. Here she plays a hyper-glamorous psychotic man-eater. Poor, bumbling homicide detective Gargan is no match for her. He succumbs, and succumbs, and succumbs. Well, one evening things get complicated. One has to remember that he is happily married to sweetie Martha, played with big loving eyes and a warm smile by 'Jeff' Donnell (she was born Jean Marie but was always called by the nickname of Jeff; see her also as Sylvia Nicolai in IN A LONELY PLACE, 1950), and adores his son. But there he is sitting in a car in a lover's retreat off the road, with Miss Glamour-puss, doing his usual succumbing, when another car pulls up and does not see them. The man proceeds to bash in the skull of the girl and then runs off, but not before they see his face very clearly in the headlights. It later transpires that Janis knows the man very well, but she says nothing at the time. Gargan starts to give chase but then realizes that he dare not do so because his involvement with Janis will come to light and his wife might leave him. So he endures an enforced silence and is then a member of the homicide team which investigates that very crime. A wrong man is accused and is about to 'get the chair'. Tension mounts. Should he do the right thing and stop the execution, at the risk of his career and his marriage? He wants to, but Janis is going crazier and crazier. She is so nuts that she makes statements like: 'I don't know why I do these things' as she tries to stab a man to death. Just the kind of girlfriend one wants! She is a rich socialite and highly sophisticated, thus intimidating the humble Gargan further. As he bitterly says to her at one point: 'You and I both add up to zero.' Every time he tries to leave her, she kisses him, which all goes to show just how dangerous kissing can be. After they have seen the murder, Janis gets a wild look in her eye and, in the midst of a seizure of psychotic excitement, says she wants to go and look at the girl's bashed-in skull and all the brains spattered all over the car because it excites her, and Gargan restrains her only with great difficulty. Janis really is very convincing in all of these scenes, and it is all pretty hair-raising. And so the story progresses. I must not reveal the ending. The next year, Janis went on to scare people further in FRAMED (1947).
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