From the moment we see John Hodiak’s bandaged faced staring
at the field hospital ceiling, we know that Somewhere in the Night is going to
be a tale of film noir identity.
Combined with another staple of the style ― the male,
recently returned from World War Two, and lost in the city ― Somewhere in the
Night (1946) offers true noir chops: the disoriented soul, lost in a city of
crime, seeking identity and of course redemption in the arms of a female.
One of several high period film noirs directed by Joseph L.Mankiewicz ― see also Escape (1948) ―House of Strangers (1949) ― No Way Out
(1950) and 5 Fingers (1952) ― there is something contained in this mystery that
is bursting to be free, and which almost comes loose at several points.
This makes Somewhere in the Night for the most gripping.
John Hodiak is the ex-soldier bereft of identity, afloat in the city, seeking
himself. He is something of a pinball, bashed from clue to clue as he tries to
pick up the trail left by the mysterious Larry Cravat. This is name I read appears to be spoken some 85 times in this movie!
This winds up taking him into an abstruse riddle, focused on
the retrieval of some Nazi loot, and through some great locations ― there’s The
Cellar nightclub ― and every film noir needs a good nightclub at its heart ― an
interesting cabal of thugs who live in an amusingly dressed fortune-telling
parlour ― and an insane asylum, another staple haunt of the broken and
de-militarised male.