Moviecut—Nocturne

Nocturne is certainly not in the 1st rank of 40's film noir movies but nevertheless has a few things going for it.....the photography, some funny lines ("one more crack like that and I'll wrap the piano around your neck"), and for me, Lynn Bari. I always thought she was ( like Hillary Brooke, Lenore Aubert, Brenda Joyce, and a few others of the 40's) an underrated, very beautiful and sophisticated actress ( of a type that no longer exists in films). Of course no-one is going to confuse George Raft with Lawrence Olivier but the rest of the cast, particularly Joe Pevney (also good in "Body and Soul") does a professional job.and makes the film worthwhile.

George Raft does a superb job as "Police Lt. Joe Warne" investigating whether a man committed suicide or was murdered. What I liked about this film was the way it made Lt. Warne seem so human even though he was a hard-as-nails police detective as well. Truth be known, it's not often you watch a tough detective who lives with his mother. I also liked the performance of Lynn Bari who played the main suspect named "Francis Ransom". Now, since this is a mystery I won't spoil it for anyone who hasn't seen it, but I will say that if a person enjoys a good film-noir then they might want to check this one out some day. I'd also like to say that I realize there are some folks who don't like movies filmed in black and white. I understand that but frankly they're missing a whole lot of good movies if they use that as a reason not to watch them. This film is one of them.

From the initial scene chronicling the murder central to the plot of Nocturne as seen from the killer's vantage point, this movie has much to sustain the viewer's interest. Whenever a stock line or situation makes you feel this is a typical hardboiled cop flick, another plot twist or cinemotographic trick changes your mind. Portions of the movie shot after hours in a deserted photographic studio remind the viewer of Harrison's Hitchcockian associations with palpable suspense. George Raft shows surprising likeability as the lead, and Lynn Bari lends sparky support as one of the ranks of the victim's past conquests-or was she?-who just might hold a clue to the identity of the deadly Dolores. If you have a chance to see this film, grab it-although it was a successful and high grossing film at the time of its release in 1946, it is extremely difficult to rent, view, or purchase today. And the music, so evocative of the forties' nightclub allure, is great.

I found this movie in my local video shops "film Noir" section. It is considered so rare I had to plunk down a hundred dollars in deposit just to take it out the store. It was worth it! Lush characters, a wardrobe to die for, it's a charmer. There's a hardboiled detective, a sassy, sarcastic maid, a lovely starlet, and plot twists to die for! At times the banter is so sarcastic and cutting you just can't help but laugh, a pulp novel comes alive, and worth every penny! Though the mystery is a bit formulaic and at times you feel you are spinning your heels a little, there are more than enough moments to make up for it. My favorite moment is when the detectives mother, and another older lady try to figure out how the crime was made to look like a suicide, it's like having two Mrs Marples on screen, very funny!

A piano composer is killed in an apparent suicide, and George Raft is a detective who searches for the truth among the composer's many past girlfriends. Lynn Bari plays opposite as a dark haired, beautiful prime suspect. The plot needed a bit of work. Even after seeing the conclusion of the film, it is difficult understand exactly what happened. Despite this one shortcoming, the film is really watchable and moves well. The dialog is sharp and a lot of nice details are worked into the film. Look for Myrna Dell, who plays the "Tehachapi Debutante" in a supporting role. Joan Harrison was the producer, and the film bears her unmistakable stamp. This is a noir film, though not as dark as her earlier "Phantom Lady", which was a superior film in terms of acting and overall dynamics. The opening shot is technically interesting for a 1946 film as it opens up on the night skyline and continuously glides into the the composer's penthouse living room as he plays piano.

After George Raft handed his career to Humphrey Bogart on a silver platter, he made films like Nocturne, a somewhat routine B film noir. Though I guessed the ending, the movie was nevertheless entertaining. What I especially liked were the outside shots of '40s LA, the night club scenes, and the dance lesson scene, all of which, when viewing it today, give a real idea of the atmosphere of the era. The prolific Lynn Bari co-starred. I always found her somewhat odd-looking and older-looking than other women playing the same types of roles. She does these sophisticated, albeit street-smart women well, however. Raft is ably assisted by a good performance from Mabel Paige as his mother. But don't get me wrong. Raft is no mama's boy.