Columbia
Pictures, 78m 54s
The archetypal money satchel gets a workout in NIGHTFALL, an ambitious outing from the great director Jacques Tourneur, a pioneer in the art of horror noir, i.e. CAT PEOPLE (1942) and I WALKED WITH A ZOMBIE (1943). Written for the screen by Stirling Silliphant (5 AGAINST THE HOUSE [1955], THE LINEUP [1958]) and based on a novel by crime fiction writer David Goodis, NIGHTFALL concentrates on the whereabouts of the aforementioned satchel and its $350,000 of stolen money inside.
The archetypal money satchel gets a workout in NIGHTFALL, an ambitious outing from the great director Jacques Tourneur, a pioneer in the art of horror noir, i.e. CAT PEOPLE (1942) and I WALKED WITH A ZOMBIE (1943). Written for the screen by Stirling Silliphant (5 AGAINST THE HOUSE [1955], THE LINEUP [1958]) and based on a novel by crime fiction writer David Goodis, NIGHTFALL concentrates on the whereabouts of the aforementioned satchel and its $350,000 of stolen money inside.
Heavy machinery spells danger in Jacques Tourneur's NIGHTFALL |
In a
nod to the noir form popularized in
the ‘40s, and Tourneur’s own OUT OF THE PAST (1947) constitutes a prime
example, present day complications have their basis in past events that are
revealed via multiple flashbacks. The lead protagonist is Chicago-based
commercial artist and veteran Art Rayburn (Aldo Ray in a likeable turn), who currently
masquerades as James
Vanning for reasons that are not apparent at the outset. So alienated from
society is Rayburn that he carries no
identification. He picks up model Marie Gardner
(Anne Bancroft) only to become entrapped by John (Brian Keith) and his
unbalanced accomplice Red (Rudy Bond in the noir
psychopath role), a couple of bank robbers in search of their lost heist money,
which lies somewhere in the vast mountainous wilderness of Wyoming. Rayburn knows—roughly,
anyway—where the loot is.
Art Rayburn (Aldo Ray) and Marie Gardner (Anne Bancroft) |
In a
departure from the noir form of
tarnished characters, our point of identification in NIGHTFALL is at no fault for his predicament. The
wrong-man-on-the-run Rayburn
finds himself pursued by not only the two crooks, but determined insurance man
Ben Fraser (James Gregory). Rayburn is deceived, beat down, shot at, chased
relentlessly, and suspected of getting rid of his hunting and fishing buddy
Ed Gurston (Frank Albertson), who left behind a widow linked romantically
to Rayburn. The classic noir element of
randomness is palpable, especially when Rayburn explains to Gardner in no
uncertain terms that fate brought them together, “Because you were unlucky
enough to talk to me tonight.”
Red (Rudy Bond) toys with Art Rayburn (Aldo Ray) |
The
narrative is introduced in the traditional urban locales in which noir stories so often play out, then Tourneur
and cinematographer Burnett Guffey (IN A LONELY PLACE [1950]) explore rural
exteriors—atypical staging for the noir
film, but not unique (ROAD HOUSE [1948], ON DANGEROUS GROUND
[1951], CRY VENGEANCE [1954]). The mise-en-scène
comes exceptionally tough for 1957, as when John and Red confront Rayburn at an
oil field. And whenever the expansive snow-covered landscape is emphasized, as
when Rayburn flees a murder scene while carrying the money satchel, and when a
character meets a grisly fate via a most unforgiving snow blower truck, the
progenitor of FARGO (1996) is strikingly evident.
My best fiend |
The
title track performed by Al Hibbler does not compliment this otherwise outstanding
film noir, by far one of the most
accomplished of programmer length. Tourneur’s suspenseful CURSE OF THE DEMON
also was released in 1957. A clean-looking 1.85:1 anamorphic presentation of NIGHTFALL is available as part of the 5-film Columbia Pictures Film Noir Classics II
DVD set available from Sony Pictures Home Entertainment.
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