6.5/10
375
17 user 9 critic

Between Midnight and Dawn (1950)

Not Rated | | Crime, Drama, Film-Noir | 1 October 1950 (USA)
Prowl car cops on night duty romance a reluctant young lady while in danger from a vengeful racketeer.

Director:

Gordon Douglas

Writers:

Eugene Ling (screenplay), Gerald Drayson Adams (story) | 1 more credit »
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Cast

Cast overview, first billed only:
Mark Stevens ... Officer Rocky Barnes
Edmond O'Brien ... Officer Dan Purvis
Gale Storm ... Katharine 'Kate' Mallory
Donald Buka ... Ritchie Garris
Gale Robbins ... Terry Romaine
Anthony Ross ... Police Lt. Masterson
Roland Winters ... Leo Cusick
Tito Vuolo ... Romano
Grazia Narciso Grazia Narciso ... Mrs. Romano
Madge Blake ... Mrs. Mallory
Lora Lee Michel ... Kathy Blake
Jack Del Rio Jack Del Rio ... Louis Franissi
Philip Van Zandt ... Joe Quist
Cliff Bailey Cliff Bailey ... Police Sgt. Bailey
Tony Barr Tony Barr ... Harry Yost
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Storyline

Rocky and Dan, war buddies, are prowl car cops on night duty. Dan is a cynic who views all lawbreakers as scum; Rocky feels more lenient. Both are attracted to the radio voice of communicator Kate Mallory; but in person, Kate proves reluctant to get involved with men who just might stop a bullet. By lucky chance, Rocky and Dan cause big trouble for murderous racketeer Ritchie Garris; but when he swears vengeance, Kate's fears may prove justified. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

The Shoot To Kill Story Of Prowl Car 13! See more »


Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English | Italian

Release Date:

1 October 1950 (USA) See more »

Also Known As:

Prowl Car See more »

Company Credits

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

While the city is never identified, the police badges and numbered streets are similar to those used or located in New York City. However, the dispatcher says "KMA 367" over the radio. This FCC call sign was and is registered to the Los Angeles Police Department, and is valid through the year 2025. See more »

Goofs

After the officers move in and are mounting things on the wall, the wall above Kate is seen to shake as if the hammering was on the other side of the wall. This would not be possible as the wall was not a common wall between the rooms- Kate had to go outside and then into the other room, and the breezeway was between the walls. See more »

Quotes

Rocky Barnes: Miss Mallory... Do you mind if I call you Kate?
Katharine Mallory: You might as well. I've a feeling you'll get around to it in a minute anyway.
See more »

Soundtracks

I WANT TO LEARN ABOUT LOVE
Written by Allan Roberts and Lester Lee
Performed by Gale Robbins (shown in part only)
See more »

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User Reviews

Mood Shifts Do Damage
27 July 2015 | by dougdoepkeSee all my reviews

No need to recap the plot.

The opening scenes suggest this will be a tough-minded buddy picture, with the great Eddie O'Brien and a good-natured Mark Stevens playing the two prowl car cops. Fortunately, this buddy part is convincing. Add some jarring action scenes from much underrated Director Gordon Douglas, and there's considerable to recommend. Trouble is the later romantic parts shift the mood into none-to-convincing light-hearted comedy. To me, the shifts are noticeable, weakening the movie as a whole. Plus, I'm inclined to think Gale Storm is miscast as a police dispatcher, much too malt shop and glowing. Maybe it's the My Little Margie factor, for which she was perfect.

Nonetheless, there are a number of nice touches, such as the funny looking little boy, some good snappy lines, along with songbird Gale Robbins to add atmosphere. All in all, the 90-minutes doesn't fit easily into any category. It's mostly a crime drama, yet lacks the moral ambiguity of true noir. Still, any chance to catch Eddie O'Brien, one of Hollywood's best actors, makes the movie worthwhile, along with the great action scenes.

(In passing—can't help noticing the similarity of this 1950 screenplay to 1952's The Turning Point. And that's down to even O'Brien as the luckier of the two buddies, William Holden being the other buddy. I wonder: could it be that Hollywood would actually recycle a plot just two years later—then again, do mosquitoes bite.)


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