Eyes In The Night (1942)

Eyes In The Night (1942) is a crime and detection sleuthing espionage spy noir directed by Fred Zinnemann which features Edward Arnold as blind detective Mac MacLain, and the dog Frida, as the dog Friday.

Oddball, unusual and earnest, Eyes in the Night (1942) doesn't suffer as many of its cheapo contemporaries do from dud scripting and the ill-effects of bum-row production values.

This celluloid endeavor, which inaugurated an ill-fated B-movie detective series, featured the venerable Edward Arnold in the role of a sightless sleuth, and although the public’s tepid reception precluded the realization of subsequent instalments, super oddity and noir make good companions and this blind sleuth endeavour has a lot to say.

In the halcyon days of the 1940s, such frugal serials proliferated, boasting luminaries like Charlie Chan, The Saint, The Whistler, and The Falcon—yet none ascended to the echelon of this particular venture. None did, and all did, and all together the forties sleuths are the strangest of all crops.

This film exhibited both merit and foible. Arnold’s portrayal, while implausible, for a blind man pummelling malefactors strains credulity but we are not here for credulity, not at all, this is film noir, and as such this is fantasy. So the film possessed a certain affability and still does as does Edward Arnold. His sagacity and rectitude were juxtaposed with moments of levity and vexation.

However, the pièce de résistance was none other than Friday—the canine compatriot who transcended mere service animal status. Friday’s feats, akin to Lassie or Rin Tin Tin, lent verve to the proceedings, blending pathos with mirth. Who could have fathomed that a dog, apart from the famed Asta, might serve as both comic relief and man’s steadfast confidant?

In the intriguing action packed do-loving darkness sleuthing of Eyes in the Night, blind detective Duncan “Mac” Maclain faces unexpected challenges. His loyal German Shepherd, Friday, accompanies him on his adventures.

Norma Lawry seeks Mac’s advice. Her husband, science-savvy but unpleasant, complicates matters. Meanwhile, an ill-fated romance threatens family harmony.

Overcoming the fears associated with World War Two was undoubtedly challenging for all citizens. For those with physical disabilities, these challenges were further compounded by additional burdens. In the film, Duncan Maclain (portrayed by Edward Arnold), a detective who is visually impaired, unequivocally demonstrates his determination to solve a murder and uncover a Nazi plot.

The primary intrigue lies not in whether he will succeed, but in how he will achieve it. The narrative clearly positions the Nazi spy ring as a greater threat to America than the murder itself, suggesting that the film could effectively focus solely on the confrontation with the Nazi threat.

The film Eyes In The Night derives its title from its central character, Duncan Maclain (Edward Arnold), an elderly detective who is blind. Together with his seeing-eye dog, Friday, and a human sidekick, Maclain investigates a murder and ultimately unmasks the villain.

The story's underlying premise feels weak and anchored to its historical context, offering limited relevance beyond the immediate post-WWII period. However, the antics of Friday the dog, coupled with Arnold's fine, albeit occasionally hammy performance, compensate for the story’s deficiencies. Friday is a standout, more than just posing with human-like expressions and responding to dialogue; he fetches shoes and guns, operates doorknobs to open doors, and devises clever escapes from a basement.

The film would have benefitted from a more traditional whodunit structure. As it stands, there is little mystery or suspense, as the villain is identified early in the narrative. The ending, too, proves somewhat disappointing.

While based on a novel, the script and visuals resemble a stage play, with most scenes set indoors and laden with dialogue. Despite this, some of the banter remains fresh and engaging. A memorable example is when the blind Maclain tells the butler Hansen, "And Hansen, turn out the light, will you; I think I'll read awhile."

The set design is modest, featuring primarily drab wooden furnishings with minimal artifacts, and the lighting is predominantly dark. Notably, one lengthy scene near the film's conclusion is filmed in complete darkness, aligning with the thematic exploration of perceiving without physical sight. The intermittent background music is dreary and unremarkable. However, a top-notch cast, including the wonderful Mantan Moreland, bolsters the production. The overall acting, particularly that of Edward Arnold, is commendable.

While Eyes In The Night is not an exceptional film, it offers enough to make it enjoyable, despite its weak premise and lack of mystery. The film will especially appeal to viewers who appreciate detective stories from the 1940s, with the performance of Friday the dog being a significant highlight.

The film conveys a powerful message: if someone who is visually impaired can contribute to the war effort, then so can everyone else. This idea is reinforced by the presence of his guide dog, Friday, who assists him in his endeavours. By 1942, Americans were beginning to grasp a lesson the British had already learned: that eventually, everyone would be called upon to contribute to the war effort.

Tragedy strikes when Paul, the troublesome co-star, is found dead. Norma becomes the prime suspect. Curiously, Friday the Dog sneezes near roses.

As the plot thickens, we wonder if Mac’s intuition will reveal the secrets hidden in the night.

Moreover, Donna Reed, though a peripheral figure, seized a climactic juncture. With mettle unyielding, she confronted the Nazi ringleader, administering a resounding blow. The genteel Ms. Reed, her decorum momentarily forsaken, became an emblem of empowerment—an unexpected flourish

This movie is also a spy noir, in the taxonomic parlance of great noir theoretician at Film Noir File.

When surveying 1930s and '40s private detective film series, the ultimate standard is the Thin Man series (1934-1947) starring William Powell, Myrna Loy, and Asta the terrier. Though the subsequent five films don't match the original, the series remains marvelous, fun, and timeless due to its unique charm and engaging elements.

Like its predecessors, the Falcon series boasts multiple lead actors and is based on literary works, specifically Michael Arlen's stories of an amateur sleuth. Unlike many detective series spanning two pivotal decades, the Falcon is entirely a 1940s phenomenon.

George Sanders, typically known for his shady or sardonic roles, starred as the Falcon in the first four films, starting with The Gay Falcon (1941). This film, featuring Allen Jenkins, Gladys Cooper, and Arthur Shields, sees the Falcon dismantling a jewelry insurance scam. A recurring gimmick in the series involves a young lady appearing towards the end of each film to present a new problem—murder, theft, or a riddle—that drives the plot of the next installment.

The series boasts a strong supporting cast, including Edward Brophy, James Gleason, Ward Bond, Hans Conried, and Elisha Cook Jr., known for his roles in The Maltese Falcon and The Big Sleep. Aspiring actresses like Wendy Barrie and Harriet Nelson also appear, along with future stars Jane Greer, known for Out of the Past, and Barbara Hale from the Perry Mason TV series.

In 1942, Sanders left the series, not due to death as often seen in the Chan movies, but because he simply wanted to move on. Uniquely, his character was succeeded by his script brother, played by Sanders' actual brother, Tom Conway. Conway continued for nine episodes before John Calvert took over for the final three forgettable entries, marking a sad decline for a series that had shown such promise with Sanders' performances.

the Lone Wolf series, created by Louis Joseph Vance in 1914. The jewel-thief-turned-detective Michael Lanyard was portrayed by various actors in silent films. In 1935, Melvyn Douglas launched the sound films, starring once in The Lone Wolf Returns. Warren William then made nine notable installments, starting with The Lone Wolf Spy Hunt (1939). Subsequent films, though lower-budgeted, remained watchable. Eric Blore provided comic relief as valet Jamison. Gerald Mohr starred in three mediocre entries in 1943. The final, disastrous film, The Lone Wolf and His Lady (1949), featured Ron Randell, destroying the series' charm.

Edward Arnold in Eyes in the Night (1942)

The Boston Blackie series, flourishing from 1941 to 1949, stands out among detective films with Chester Morris consistently playing the lead role of a reformed thief. Unlike other detectives in the genre, Morris' Blackie is carefree and spontaneous, confidently sneering at any criminal who dares to challenge him. Regular characters include his talkative, obtuse buddy “the Runt” (George E. Stone), the skeptical police detective Inspector Faraday (Richard Lane), and the irresponsible millionaire Arthur Manleder (Lloyd Corrigan).

The series features direction by first-class directors such as William Castle, Robert Florey, and Edward Dmytryk. The debut film, Meet Boston Blackie (1941), is particularly noteworthy for its chic cinematography by Franz Planer and Florey’s stylish direction. In this film, Blackie tackles spies at Coney Island, blending comedy, mystery, and sleuthing.

Chester Morris’ skill as a magician is cleverly incorporated into the scripts of several episodes. For example, Alias Boston Blackie (1942) and Boston Blackie and the Law (1946) showcase his prestidigitation abilities in prison settings. While these installments are not outstanding, they are adequately entertaining for their genre.

Writer Earl Derr Biggers initiated the life of the Oriental detective Charlie Chan on the Honolulu police force. The character’s film history began in silent films, with the first sound appearance in Behind That Curtain (1929), though Charlie Chan appears only briefly. Warner Oland’s portrayal in Charlie Chan Carries On (1931) brought attention to the series, though several films from this period no longer exist. Oland's introduction for modern audiences is in The Black Camel (1931), set in Hawaii and featuring an impressive cast including Bela Lugosi and Robert Young.

In Charlie Chan in Paris (1935), the series introduced Chan’s Number One Son, Lee (Keye Luke), adding family life and humor. Following Oland’s death in 1937, Sidney Toler took over, debuting in Charlie Chan in Honolulu (1938) with a new son, Jimmy (Sen Yung). Toler's tenure continued with strong writing and quality actors. When 20th Century-Fox dropped the series in 1942, Monogram Pictures continued it, albeit with declining quality. After Toler's death in 1947, Roland Winters took over until the series ended poorly with Sky Dragon (1949), concluding over forty films in one of the longest-running detective series of the ’30s and ’40s.

The Mr. Moto series, featuring another Asian sleuth, stands out despite its relatively small number of nine films produced between 1937 and 1939. The series owes its success largely to the charisma and perfect casting of Peter Lorre. 20th Century-Fox, the same studio behind the Charlie Chan films, produced the Mr. Moto series, although the two characters' coexistence might seem contradictory. Unlike Charlie Chan, Mr. Moto lacks a regular sidekick or familial connections, but the series boasts superior production values and features some of the finest supporting actors in any detective series. Notable names include Sig Rumann, Jean Hersholt, Lionel Atwill, John Carradine, and George Sanders, who appeared in Mr. Moto’s Last Warning (1939) before becoming the Falcon.

Thank You, Mr. Moto (1937) is often considered the best in the series, highlighting the trend that the finest films often come early in a series' run. In this film, Mr. Moto is on the trail of Genghis Khan's hidden treasure, revealed through seven ancient scrolls. The last film, Mr. Moto Takes a Vacation (1939), sees him searching for the crown of the Queen of Sheba. Mr. Moto is a globetrotter, traveling to diverse and exotic locations such as the Suez Canal, Puerto Rico, Indochina's jungles, and Shanghai. His investigations often involve disguises, typically comprising a simple pair of round eyeglasses.

Returning to a series like Philo Vance would complement the initial detective, but for variety and a quirky departure from the usual, the eight Whistler films stand out. Starring Richard Dix in all but the last, which features Michael Duane, this series ran from 1944 to 1948, one of the shortest spans among its counterparts.

These films offer two notable distinctions. First, Dix changes characters in each film, playing either a hero or a villain. In the initial entry, The Whistler (1944), he tries to cancel a contract he has taken out on his own life. In Mark of the Whistler (1944), he is a drifter pretending to be the long-lost owner of a dormant bank account. He plays a detective who commits murder to secure rare Jenny Lind wax recordings in The Mysterious Intruder (1946). Dix's roles range from an insane artist in Secret of the Whistler (1946) to a cultured amnesiac aided by a fortune teller in The Power of the Whistler (1945).

The second unique feature is the presence of a mysterious stranger whistling a tune as he walks along. He introduces himself with, “I am the Whistler, and I know many things, for I walk by night.” The whistling, performed by Dorothy Roberts to a tune by Wilbur Hatch, backed by an orchestra, adds an eerie atmosphere. An unseen narrator, Otto Forrest, introduces each film and sometimes bridges scenes with his voice, while the Whistler's presence is linked to the whistling or a walking shadow on the wall.

The series benefits from talented directors, including William Castle on four occasions, engrossing scripts with ironic twists, and competent supporting actors. The Whistler radio program, which began before the film series and continued until 1955, featured Bill Forman most often in the title role and Marvin Miller as the narrator.

There are many other detective series worth mentioning. Warren William's portrayal of Perry Mason in four of six films between 1934 and 1937 was notable, though Warner Bros. changed the character's portrayal across films, with the sleuth only fully realized by Raymond Burr on TV.

Despite the success of the Ellery Queen novels, the related film series was weak, with Ralph Bellamy miscast, playing the character poorly. The exploits of a rare female detective, Hildegarde Withers, ran from 1932 to 1937, initially starring the elderly character actress Edna May Oliver, who left the series prematurely. Other detective series include Bulldog Drummond, the Saint, Dick Tracy, Michael Shayne, Nick Carter, and Torchy Blane.

The Whistler series remains distinctive for its changing lead roles, eerie atmosphere, and strong production values, making it a unique and memorable part of 1940s detective films.

EYES IN THE NIGHT (1942)

Premiere Information: New York opening: week of 16 Oct 1942

Production Date: 20 May--late Jun 1942

Sound: Western Electric Sound System

Duration(in mins): 79-80

Length(in feet): 7,180