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Somewhere in the Night (1946)

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George Taylor returns from WWII with amnesia. Back home in Los Angeles, while trying to track down his old identity, he stumbles onto a 3-year old murder case and a hunt for a missing $2 million.

Writers:

Howard Dimsdale (screenplay), Joseph L. Mankiewicz (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
John Hodiak ... George W. Taylor
Nancy Guild ... Christy Smith
Lloyd Nolan ... Police Lt. Donald Kendall
Richard Conte ... Mel Phillips
Josephine Hutchinson ... Elizabeth Conroy
Fritz Kortner Fritz Kortner ... Anzelmo aka Dr. Oracle
Margo Woode Margo Woode ... Phyllis
Sheldon Leonard ... Sam
Lou Nova Lou Nova ... Hubert
Houseley Stevenson ... Michael Conroy
John Russell ... Marine Captain
Philip Van Zandt ... Navy Doctor
John Kellogg ... Hospital Medical Attendant
Polly Rose Polly Rose ... Nurse
Paula Reid Paula Reid ... Nurse
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Storyline

During the World War II, a soldier is hit by a grenade that deforms his face and leaves him with amnesia. Sometime later, he is recovered and learns that his name is George Taylor and he is discharged from the army. He finds a letter written by a man called Larry Cravat that would be his pal and he goes to Los Angeles to seek out Larry Cravat to find his identity. He goes to a bank, a hotel, a Turkish bath and a night-club following leads. He is beaten up by Hubert, the henchman of Anzelmo that dumps him at the front door of the singer Christy Smith that works in a night-club. George tells his story to her and Christy decides to help him. She calls her boss and friend Mel Phillips that schedules a lunch with his friend Police Lt. Donald Kendall and Christy. They learn that Larry Cravat was a private investigator that somehow received US$ 2 million three years ago from Germany from a Nazi that was immediately deceased. Then George receives a tip to go to the Terminal Dock where he ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

The screen's boldest probing of human emotions! (original poster) See more »

Genres:

Crime | Drama | Film-Noir

Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

23 September 1946 (Sweden) See more »

Also Known As:

The Lonely Journey See more »

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Box Office

Gross USA:

$1,500,000, 31 December 1946
See more on IMDbPro »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

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

Trivia

"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on March 3, 1947 with John Hodiak reprising his film role. See more »

Goofs

George Taylor is in the hospital at the beginning of the film with a broken arm and his head swathed in bandages. When they remove the bandages, he has a perfectly trimmed moustache. See more »

Quotes

Anzelmo aka Dr. Oracle: Then you have my word: he will not molest you. A mere figure of speech; my word is worthless.
See more »

Connections

Referenced in Remington Steele: Cast in Steele (1984) See more »

Soundtracks

Paducah
(uncredited)
Music by Harry Warren
Played when George removes the postcard and replaces it with a matchbook
See more »

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User Reviews

 
Even for an amnesiac noir, this archetypal entry is too often forgotten
12 July 2004 | by bmacvSee all my reviews

Borrowed as the title of Nicholas Christopher's study of film noir and the American city, Somewhere In The Night remains a movie less familiar than Laura or The Big Sleep or Out of the Past. But it's almost in their class – an atmospheric and at times archetypal noir, the first directorial effort of Joseph L. Mankiewicz and the first major post-war feature to use the device of amnesia-as-metaphor: How vets survived global cataclysm only to have to construct new lives in a homeland that had, in their absence, turned into alien territory.

Drifting up out of coma in a military hospital, John Hodiak can't figure out why everybody calls him George Taylor. Only two letters offer clues to who he is, one from a vindictive girl he ditched, the other apparently from an old pal, Larry Cravat. Without much to go on, he heads to Los Angeles to track down Cravat and thus himself. But as he skulks though the city's dark demimonde (Turkish baths, mobbed-up nightclubs, phony spiritualist parlors, insane asylums), he's quick to learn that other people don't want Cravat found. Yet he finds allies in club canary Nancy Guild, her boss Richard Conte, and police detective Lloyd Nolan. He also finds that the reason for all the violence unleashed against and around him is $2-million in Nazi money (which disappeared in 1942, the year he joined the Marines). Cravat proves both elusive and uncomfortably close....

Somewhere In The Night boasts a strong cast in supporting (Conte, Nolan, Fritz Kortner) and even tertiary roles (Sheldon Leonard, Whit Bissell, Henry Morgan, with special mention to Josephine Hutchinson, who plays a poignant largo midway though the movie). Where it offers scant measure is in its principals. 20th-Century Fox was grooming Guild as its answer to Warners' sultry sensation Lauren Bacall, failing to grasp that Guild's appeal was less romantic than matey – the gal pal (like a couple of other Nancys from that era, Olson and Davis).

Hodiak's more problematic. He enjoyed a few years in the Hollywood limelight (Lifeboat, Marriage Is A Private Affair, Desert Fury, Command Decision) before his untimely death in 1955. But he never brought the illumination – the star quality – to his work that would elevate it from the competent to the classic. So he stays generic through his picaresque ordeals, without the specific anguish that distinguished, for example, John Payne or even Gordon MacRae and Edmond O'Brien as they underwent theirs (in, respectively, The Crooked Way, Backfire and D.O.A.).

Mankiewicz' first go as director comes as a surprise. Most vividly remembered as writer/director of A Letter To Three Wives and the immortal All About Eve (movies whose sparkling scripts camouflaged their lack of visual interest), he generates a menacing look in his nightscapes for the City of Angels, camping out in Bunker Hill walk-ups and on Skid Row. The storyline's almost as complicated as The Big Sleep's, and as murky, but then clockwork plots never sat well in film noir – the universe it dwells in stays random, volatile, unfathomable.


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