Night Has a Thousand Eyes (1948)

Directed by John Farrow; produced by Endre Bohem

After her fiancé, Elliott Carson (John Lund), stops her from committing suicide, Jean Courtland (Gail Russell) takes him to see John Triton (Edward G Robinson), the psychic who foretold her death. Triton relates his story: how, once a stage-magician with an entertaining but fake mind-reading act, he suddenly acquired the genuine power of prophecy, and how it had destroyed him. Yet, with the dubious Caron’s help, he hopes to use his talent to save Jean’s life.

An interesting story, from a Cornell Woolrich novel, Night Has a Thousand Eyes has a good script that keeps one involved in Triton’s tale. But the real attraction is the skillful blend of Robinson’s acting with Farrow’s direction. The result is an effective thriller that uses both suspense and psychology.

This is Robinson’s movie, in regard to the cast. When not portraying a villain – which he could do to perfection (as in Key Largo, from the same year) – the actor was best at playing rather ordinary, slightly downtrodden men. Here, his character’s behaviour in reaction to his ‘gift’ is realistic, and creates sympathy. Originally, Triton was a bit of a con-man, pretending to be a soothsayer in taverns and travelling shows; he had a modest skill and people were happy to be entertained. He had a loving relationship with his girlfriend, whom he hoped to marry; they, with their best friend, were decent people.

Robinson depicts well a man cursed by a power that allows him to see impending disaster yet not do anything about it. The story cleverly makes it clear that whether he tries or not, Triton cannot seem to turn fate from its inevitable course. How he will manage it, if he does, may be expected, but nonetheless creates suspense.

Farrow, on the other hand, capably molds tension as the film moves toward its conclusion. Triton’s predictions come true, but not always as they were envisioned. The progression of his prophecies builds toward a climax that is satisfying. Farrow’s work is not spectacular, nor are his movies well known these days (except Around the World in 80 Days, of which he is the uncredited director of a segment.) Nonetheless, more than a few (such as The Hitler Gang, Alias Nick Beal, The Big Clock) are quite a bit above average.

The other elements of the movie are good without being outstanding. The supporting cast is adequate and includes Virginia Bruce, as Triton’s girlfriend; Jerome Cowan (in a rare detour from his usual conniving, rather unlikeable characters), as their friend; Roman Bohnen, as a prosecutor, and William Demarest in a mostly non-comedic rôle as a police detective.

The production values are standard, though, as in many old movies, they make use of settings which may have been common or at least known at the time but are forgotten now. Of particular interest is the neighbourhood in which Triton finds refuge in Los Angeles, an old district even then, but characterised by the ‘Angels Flight’ funicular railway. Such inclusions often enliven a movie.

Night Has a Thousand Eyes is a lesser entry in Edward G Robinson’s catalogue, but worth watching.