Review: ‘All Through the Night’

Gripping espionage meller [from a screen story by Leonard Q. Ross and Leonard Spigelgass] highlights three bad boys, with Humphrey Bogart this time working on the side of the law, order and liberty in trying to clean up a nest of Nazi spies and fifth-columnists. Two other toughies are sinister, soft-spoken Peter Lorre and immaculate, iron-fist-in-velvet-glove Nazi agent Conrad Veldt, both first rate. Locale is New York City.

Gripping espionage meller [from a screen story by Leonard Q. Ross and Leonard Spigelgass] highlights three bad boys, with Humphrey Bogart this time working on the side of the law, order and liberty in trying to clean up a nest of Nazi spies and fifth-columnists. Two other toughies are sinister, soft-spoken Peter Lorre and immaculate, iron-fist-in-velvet-glove Nazi agent Conrad Veldt, both first rate. Locale is New York City.

Bogart, as retired mobster turned bigtime gambler, is easy to take. Protected against background of Nazi beatings and murders, US gangsters look like Sunday School kids fighting over marbles. Chase and gunbattle in Central Park, scraps in the warehouse district, the mystery girl in distress, emphasis on danger to American institutions from foreign conspirators add up to elementary but surefire audience appeal.

Casting is a big asset, with Jane Darwell as Bogart’s mother, Frank McHugh, Judith Anderson and William Demarest prominent. Kaaren Verne, femme lead, fills the bill nicely and pleasantly warbles two songs in a nitery sequence.

All Through the Night

Production

Warner. Director Vincent Sherman; Producer Hal B. Wallis (exec.); Writer Leonard Spigelgass, Edwin GIlbert; Camera Sid Hickox Editor Rudi Fehr; Music Adolph Deutsch Art Max Parker

Crew

(B&W) Available on VHS. Extract of a review from 1942. Running time: 107 MIN.

With

Humphrey Bogart Conrad Veidt Kaaren Verne Jane Darwell Frank McHugh Peter Lorre
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