Bogart Takes on the Nazis.
Produced and released by Warner Brothers, always the most socially conscience of the studios, this 1941 propaganda film came out just months before America would enter World War II. Starring Humphrey Bogart as “Gloves” Donahue, a local hoodlum who runs the neighborhood bookie operations. “Glove’s” is a long way from Bogart’s other roles as a gangster. Here he is sort of a neighborhood Robin Hood with his gang, a bunch of Damon Runyonesque type comedic characters.
Most of the neighborhood seems to like “Gloves”, except for the cops, and his rivals led by Barton McLane. Conrad Veidt plays Ebbing, the head Nazi who commands an underground organization of fifth columnist with sabotage on their mind. Peter Lorre is Pepi, Ebbing’s little weasel of an assistant.
“Gloves” involvement begins when a neighborhood German baker is murdered by the master of creepiness, Peter Lorre. The baker was a friend of “Gloves” mother and made his favorite cheesecake, so at his mother’s beckoning he begins to look into the killing. When a nightclub bouncer is also murdered and one of “Gloves” gloves is found at the scene, the police can only conclude one thing, he is the murderer.
While trying to prove his innocence “Gloves” investigation leads him to discover a group of fifth columnist with plans to sabotage the New York Harbor by blowing up a naval battleship. The police, who are clueless about the German threat, are only interested in fingering “Gloves” for the murders.
Surprisingly, the film is amazingly light in its humor considering that the war was going strong in Europe by this time. Released on December 2nd, according to IMDB, only days before the Japanese bombed Pearl Harbor and America would enter the war. The release may have been only in Los Angeles though because the New York Times review is dated January 24th 1942 and makes note that this is a “pre Pearl Harbor” film, “lest anyone raises the objection that it plays too fast and loose with a subject much too serious for melodramatic kidding in these times.” The review, by Bosley Crowther, then goes on to say, “One would hate to think that an enemy plot of such elaborate magnitude as the one presented here should be so completely overlooked by our capable F. B. I. (italics mine), and that the responsibility for licking it should fall upon a semi-gangster. So don’t even let yourself think that this picture pretends to be fact. It is straight, unadulterated fiction pulled out of a script-writer’s hat.”
So here we are now some 70 years later, and considering what we have been going through since 2001, such blind faith in the F.B.I. or Homeland Security or any other Government Agency is naiveté of the highest order. I am not picking on Mr. Crowthers, as I usually do, I’m sure that many Americans had blind faith in and felt secure that organizations like the F.B.I had security matters well in hand back in those days.
Much of the films humor is supplied by members of “Gloves” gang, consisting of fanciful character actors like William Demarest and Frank McHugh along with some additional bizarre casting of Jackie Gleason and Phil Silvers. McHugh’s character is newly married and the running joke throughout the film is that he cannot consummate his marriage because he is always helping “Gloves” in hunting down the Nazis. Gleason and Silvers are regulated to humorous roles that are close to slapstick level.
There is a touch of seriousness thrown into the mix when “Gloves” in his search to find the murderers comes across nightclub singer Leda Hamilton (Karren Verne), a young woman who is first made to seem to be aiding the Nazis. We soon find out that Leda is being forced to help them because her father is a prisoner in Dachau. Ebbing promises to keep him alive as long as she helps them with their sabotage plans.
The cast also includes Jane Darwell as “Gloves” mother, Judith Anderson as an assistant to Ebbing and Barton McLane as Callahan, the rival gang leader. Bogart handles his role in typical Bogie fashion, cool and unflappable. Peter Lorre and Karren Verne would marry, in real life, a few years after this film was made. Today, “All Through the Night” comes across as a bizarre little film, somewhat uncomfortable in its humor, melodramatic with some odd casting but still entertaining enough.
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Twenty Four Frames 