Strangers in the Night (1944)

Directed by Anthony Mann; produced by Rudolph E Abel (associate producer)

Johnny Meadows (William Terry), a U.S. marine recovering from wounds received in the Pacific war, travels to California to meet Rosemary, the woman whose letters brought him back from depression during his initial convalescence. Half in love with his pen-pal, he meets Leslie Ross (Virginia Grey), a doctor travelling to the same town. They hit it off, though Meadows still looks forward to finding Rosemary. When he is greeted instead by the girl’s mother, the formidable Mrs Blake (Helen Thimig), he realises that something is amiss, and finds himself part of a triangle - or is it a quadrilateral? - that could end in murder.

An interesting movie which is good but not very good, Strangers in the Night (a title which has nothing to do with the later, popular song and, in fact, nothing to do with the film’s plot) is weighed down by several elements. One is the acting.

Except for one most notable exception, the leads’ talent is not outstanding. Terry and Grey are not overly convincing in their performances; the secondary characters, Mrs Blake’s companion (Edith Barrett) and Dr Ross’s nurse (Anne O’Neal) are better.

The production values are poor, and the script, while providing decent dialogue, relies too heavily upon coincidence (two Americans in 1944 who share a love of Housman’s very English A Shropshire Lad meeting by chance on a train is an example.) The central romance is lukewarm and unbelievable, and the motivation for the criminal’s involvement with Meadows is vague at best.

Strangers in the Night does, however, have advantages. The writing does pack a surprising amount in less than an hour’s running time, and there are no boring moments. The story, as opposed to the script, is an involving one. Written by the successful mystery-author Philip MacDonald, it deliberately leads one toward an almost inevitable conclusion - but not all is obvious. The direction - this is one of Mann’s earlier works - is also satisfying, making the most of camera angles and setting.

The best part of the film, though, is Helen Thimig’s performance. She creates one of the creepiest characters you will see in a movie. Even Mrs Blake’s kindest remarks come off as unsettling, as if everything she does or says is part of an agenda known only to her.

Her smiles give the impression of someone who believes her every action is perfectly fine and natural, and every word or deed that doesn’t assist them is a capital crime. And yet, there is always a question in the background as to whether this is really the person she projects. Thimig grew up in the Austrian theatre, and came from a famous acting family, so she knew her art.

Strangers in the Night is, perhaps, an average low budget early film noir in many ways, see-sawing between some good quality points and some damaging characteristics. But with a decent story-line, helpful secondary actors and Ms Thimig’s excellent work, this is a movie that will be more enjoyable than otherwise. Just don’t blame me if you see Mrs Blake’s sickly and patently insincere grin in your nightmares.