Dead of Night

Dead of Night

Directors ~ Alberto Cavalcanti, Charles Crichton

Basil Dearden, Robert Hamer

Writers ~ John Baines, Angus MacPhail, T.E.B. Clarke

1945 ~ UK

Stars ~ Mervyn Johns, Michael Redgrave, Roland Culver

‘Dead of Night’ was Ealing’s first post-war release and their only horror, despite other-wordly elements in others. Although preceded by the German film ‘Waxwork’ (1924), this is generally considered the precedent for the portmanteau genre. Amicus and Hammer owe an obvious debt, and its template can be sensed through to the recent ‘V/H/S’ franchise, but it would seem there really wasn’t a cohesive British Horror genre beforehand. There was Tod Slaughter as Britain’s first Horror star, barnstorming through ‘Maria Marten’ and ‘Sweeney Todd’, but no genre properly established. Previously a lot was being derived from theatre, and this certainly seems to be the case when we start here with a drawing room drama with cut-glass received pronunciation.  

The over-arching tale of Walter Craig (Mervyn Johns) driving up in a in a 1938 Sunbeam-Talbot Ten drop-head coupe to a farmhouse to meet six people with an intrusive sense of déjà vu is strong. It’s not just bookending, it is an intrinsic narrative element itself, setting in motion the storytelling of the characters and justifying the incidental, anecdotal nature of the tales told. Where there are tonal shifts – creepy, romantic, dated comedy – the over-arching story keeps a momentum and cohesiveness that many anthologies don’t manage. The datedness offers the crisp Received Pronunciation dialogue, which is smart, spritely and engaging, endearingly old-fashioned. Drawing room debates punctuated by spooky anecdotes proves solid and arguably bolsters any slightness in the stories themselves. If wordy, educated slightly pricky drawing room banter appeals to you, ‘Dead of Night’ is rooted in this.  

A notable omission is a lack of reference to the very recent war. During wartime, horror films had been banned in Britain, and by extension this has the air of asking to be let back in if we don’t mention it. Conspicuous by omission, perhaps, but Jamie Russel’s BBC synopsis is helpful:

"Best remembered for their classic British comedies, Ealing Studios broke all the rules with this spooky psychological thriller, their first post-war release. Released in 1945, its dark tales of neurosis and obsession proved the perfect response to the trauma of the war years with five stories by four different directors capturing a brooding menace that's quite at odds with the middle-class world of the stiff-upper-lipped characters."

Indeed, premonitions of death, fear of latent violence, suicide and cracked mental health all feature. Also at the time, the second story would have had period echoes of the infamous case of Constance Kent, a teenager who murdered her brother. There’s a lot of trauma lurking.

Although Googie Withers and Ralph Michael stand out, it is Michael Redgrave’s performance as the ventriloquist that steals the show in the film’s most renowned episode, although . It’s one that especially nods to the psychological basis and interiority of the Horror genre to come and not just the failing reality and hauntings of the other stories. All along, the film is in debate with its only foreign element, the German psychologist Dr Van Straaten (Frederick Valk) who insists on scientific explanations, but its agenda is definitely spookiness in showcasing several writers and directors. With the mirror and ventriloquist stories coming latterly, only interrupted rudely by the dated misogyny and buffoonery of golfers’ episode, the film only gets better as it goes on.

Much of the pleasure is the period detail and set-design, full of bric-a-brac from a different era, and it retains a timeless sense of atmosphere and some genuine eeriness. Having vanquished its symbol of rationality, the film succumbs to its nightmare logic. Along with its sense of a supernatural bubble-trap, its denouement not only gives a genuine nightmarish conclusion but also excels by giving the stories a second ending which, especially for the ventriloquist’s dummy episode (three chilling endnotes, by my count), proves a neat trick and greatly satisfying.

Miracle Mile

 

Miracle Mile

Director & writer ~ Steve De Jarnatt

1988, USA

Stars ~ Anthony Edwards, Mare Winningham, John Agar

 

On the mean, dayglo streets of “Grand Theft Auto: Vice City”, a guy is just trying to get his Meet Cute when he answers the wrong public phone and stumbles onto the news that nuclear Armageddon is imminent. I mean, it’s the movies and the Eighties so he’ll still risk everything for a crush he barely knows, and things will turn explosive and criminal very quickly, however unlikely.

Having grown up in the Eighties, I can testify that the fear of Them dropping the bomb was very real, and all over the music hits of the era.  Films: ‘Damnation Alley’, ‘Escape From New York’, ‘The Quiet Earth’, ‘Dreamscape’, ‘Mad Max 2’, ‘Mad Max: Thunderdome’, ‘A Boy and His Dog’, ‘Zardoz’, ‘Silent Running’, ‘When the Wind Blows’, etc, and these are just the ones I was familiar with. The Cold War fears of the Sixties bled effortlessly into the Seventies and found their natural bleak-peak in 1984’s ‘Threads’. There was plenty of “Hey, what if the apocalypse was: monsters! Action! Aliens! Zombies! Old people!”, so why not a Meet Cute in Armageddon? John Hughes does the Holocaust?

And in that way, despite the insistence that there will be late night crime involved, ‘Miracle Mile’ takes a different tone, trying to reach for sadness over the era’s colour scheme and superficiality. And just when you think it cannot be anymore Eighties, ‘Miracle Mile’s striking, hypnotic score is by Tangerine Dream, whose soundtrack work of this era endows many a film with an irresistible dream-like veneer. There’s certainly a dreaminess to this romantic apocalyptic nightmare drama, with oddball side-characters, brick-size mobiles, and a race-against-time propelled by explosions and death long before the bomb is dropped. The angle is a male rescuing an imperilled girl he barely knows, whilst trying to keep her in the dark, which is a little on the condescending side. JB Spooky speaks of how the opening five minutes remind him of High School flirtations, but we’re dealing with a  thirtysomething protagonist here, but it goes on to feel like an adolescent obsession. Luckily, Anthony Edwards is appealing, and baffled enough as things escalate into unlikely “Vice City” territory. Mare Winningham, although saddled with the most dated mullet, is sweet but a slight presence.

The attempt to make this most fatalistic and downbeat of premises a most exciting experience makes for a fluctuating tone that gives it distinctive character, but wavers in credibility. Those that are convinced tag the thin romance idealism as its core. The Los Angeles nightlife proves a vibrant backdrop as the film careens to an inevitable conclusion, still clinging onto a last hope of fantasy of connection as humanity puts paid to itself.  

 

Dead of Winter

Dead of Winter

Director ~ Brian Kirk

Writers ~ Nicholas Jacobson-Larson, Dalton Leeb

2025 ~ Germany, Canada, United States

Stars ~ Emma Thompson, Judy Greer, Marc Menchaca

A solid thriller with a generic title distinguished by its focus on old person heroism-by-pragmatism, and by Emma Thompson-with-an accent. All the performances are great, snowbound northern Minnesota provides magnificent white vistas, and the joy is in watching our well-seasoned heroine use her wits to evaluate and deal with the situation when she stumbles upon a kidnapping. There’s a refreshing turn in seeing the usual Action Machismo – self-sewing a bullet wound, dashing for cover, loading guns – being carried out by a smart, somewhat unassuming old woman motived by little more than the stubbornness of caring, of not knowing how to not get involved. Respected older actors turning into action stars in late career is a trend usually reserved for the guys, the industry trying to squeeze some last virility out of them, so it’s nice to see the ladies cash in. In fact, this one, the writing debut of Dalton Leeb and composer Nicholas Jacobson-Larson, is definitely for the girls.

There are the expected plot holes inherent in the genre (wipe the glass!), but there’s plenty to admire in a script that is essentially a back-and-forth between two locations. There is nothing original, but it’s pretty, suspenseful, well played and entertaining.