Between Midnight and Dawn (1950)

Between Midnight and Dawn (1950)

Hello to all the classic people who are returning. I am glad you are back. I want to welcome any new visitors and let you know there will be spoilers ahead. Today on Classic Movie Review, we are taking on the Film Noir Between Midnight and Dawn (1950).

This movie has a 6.6 rating on IMDb.com[1]. On Rottentomatoes.com,  the film doesn’t have a Tomatometer score and only a scant 31 percent on the Popcorn meter[2].

In a contemporary review, cranky old New York Times film critic Bosley Crowther wrote:

If you want to know how the policemen who ride the prowl cars spend their time—if not in actuality, at least in a Hollywood film—then sit yourself down before a picture entitled “Between Midnight and Dawn”… By this explosive exhibition, you may not be literally informed, but you’ll certainly be fairly treated to a fast cops-and-robbers show. Let us advise you, however, that the general disposition of the cops and the brand of romance in this picture is on a studiously juvenile plane.[3]

You probably know I am a big fan of Edmond O’Brien. He growls his way through this film as expected, and he is clearly what makes this film worth watching. Gale Storm is just a little too squeaky clean, even for this good girl role.

The violence, pedophilia, and Italianess of the criminals were all toned down or removed from the original screenplay to make the film acceptable to the public.

Actors – Between Midnight and Dawn (1950)

Returning

Edmond O’Brien was cast as Officer Dan Purvis. O’Brien carved out a lasting place in film by specializing in nervous intensity, moral desperation, and men pushed to the edge. Few actors were better at conveying panic, exhaustion, and obsession, qualities that made him a natural fit for film noir and hard-edged drama.

With around 16 Film Noir roles, his most iconic performance was in D.O.A. (1949). There is a link in the description for anyone who wants to explore that film further. In it, O’Brien plays a man racing against time to solve his own murder, delivering one of the most frantic and unforgettable performances in noir history. He followed this with tough crime thrillers like 711 Ocean Drive (1950) and Shield for Murder (1954), both linked in the description. He often portrayed compromised lawmen or desperate professionals whose moral lines blur under pressure.

Later in his career, O’Brien became an invaluable supporting player. In Birdman of Alcatraz (1962), he added emotional weight to a story about isolation and personal transformation. There is a link in the description,  He also appeared in John Ford (Dir.)‘ s The Man Who Shot Liberty Valance (1962), contributing to the film’s meditation on truth, memory, and legend. There is a link in the description. In the political thriller Seven Days in May (1964), again with a link in the description, his presence reinforced the atmosphere of suspicion and urgency.

Mark Stevens played the role of Officer Rocky Barnes. He is known for The Dark Corner (1946), and there is a link in the description: The Street with No Name (1948), The Snake Pit (1948), and today’s film, Between Midnight and Dawn (1950).

Madge Blake plays Mrs. Mallory, the widowed mother of Kate Mallory. Blake was first covered in another movie about a patrol cop, The Prowler (1951). There is a link below. Although she worked on the detonator for the atomic bomb during the Manhattan Project, she is still best known for playing Bruce Wayne’s aunt on “Batman” 1966-1967 and in Batman: The Movie (1966)

New

Gale Storm played the role of Katharine ‘Kate’ Mallory, the police station’s radio communicator. Storm was one of the few figures whose career crossed film, television, radio, and popular music. Born in 1922 in Texas, she was the youngest of five children and lost her father before she was two. Raised by her mother, Storm grew up moving around Texas before settling in Houston, where she discovered performing through dance, skating, and school dramatics.

At seventeen, urged on by teachers, she entered Jesse L. Lasky’s Gateway to Hollywood radio talent contest. Winning first locally and then nationally, which then sent her and her mother west, where she was given the name Gale Storm and briefly signed by RKO. Though that contract ended quickly, it opened the door to steady work throughout the 1940s. Storm appeared in a long run of low-budget musicals, comedies, westerns, and mysteries. The films were rarely prestigious, but her wholesome charm and professionalism kept her employed.

A handful of roles stood out. Storm brought warmth and sincerity to the holiday favorite It Happened on Fifth Avenue (1947) and then showed a tougher, dramatic side in films such as Abandoned (1949) and Between Midnight and Dawn (1950).

Everything changed when Storm moved to television. At age thirty, she became the lead of My Little Margie (1952), a sitcom originally intended as a summer replacement for I Love Lucy. Instead, it became one of the most popular shows of the early 1950s and remained a fixture in syndication for decades.

She followed that success with The Gale Storm Show in 1956, again anchoring the series with charm and accessibility. At the same time, Storm launched an unlikely second career as a pop singer. Signed to Dot Records, she scored multiple hits, including “I Hear You Knocking,” “Memories Are Made of This,” and “Why Do Fools Fall in Love.” Her biggest success, “Dark Moon,” reached number four on the Billboard charts.

After her second sitcom ended in 1960, Storm stepped away from regular screen work. She focused on stage appearances in summer stock and dinner theater. During this period, she struggled privately with alcoholism, a battle she later addressed openly in her 1981 autobiography I Ain’t Down Yet.

Storm eventually returned to public life as a speaker and was a beloved presence on the nostalgia circuit. Storm passed away in 2009.

Story – Between Midnight and Dawn (1950)

A large city is shown at night, and they talk about the first to arrive at a crime scene, the prowler car cops. It switches to the police communication operation where calls are received and related to men in patrol cars.

Two cops, deeply cynical Officer Dan Purvis (Edmond O’Brien) and his partner, the more relaxed Officer Rocky Barnes (Mark Stevens). They receive a call about two men breaking into a garage. There is a car parked outside, and two female lookouts are inside the vehicle. They put the women in custody and asks for another car to help. The two other cops arrive, and the four begin searching for the burglars.

Inside the building, Purvis and Barnes are fired at by the burglars. The robbers are caught, but no one is killed. The four suspects are taken to the receiving hospital. One of the girls has a meltdown about being arrested. Purvis has no sympathy.

Later, Barnes says he feels sorry for the girl, but Purvis says she will be as bad as anyone in a year. The talk then turns to the radio operator, Katharine ‘Kate’ Mallory (Gale Storm). They both say they like the sound of her voice. However, it seems Barnes likes it a little more. The talk indicates that the pair were buddies from their time in World War II. The conversation ends with Purvis warning Barnes to stay away from the communications area.

They get a call about a stink bomb that was thrown through the window of Romano’s Italian restaurant. The cops ask if it was gangster Ritchie Garris (Donald Buka), but Romano (Tito Vuolo) pretends he didn’t see anything.

Purvis decides to go by Garris’ club to see if he can get a link on one of the gangster’s torpedoes. Purvis and Barnes do an illegal search on a car in the parking lot and find a couple of stink bombs. They go inside to find the car’s owner, Joe Quist (Philip Van Zandt). Barnes takes time to watch the sexy torch singer. Purvis begins escorting Quist out when the gangster boss Garris arrives. Garris tries to pay off the cops, but they refuse and throw the money back in his face.

When Romano and his Mrs. Romano (Grazia Narciso) see Quist, they refuse to identify the bomber. Quist’s lawyer takes him away.

In the locker room, the men debate what the new radio girl looks like. The next week, the pair of cops is switched to daytime patrol. They break up a fight between some kids. They take the non-local kid, Petey Conklin, and his brother back to their block. Petey is played by Billy Gray, who is known for Film Noir Lust For Gold (1949) and hanging out with the alien in The Day the Earth Stood Still (1951), and being Bud in television’s “Father Knows Best” 1954-1960.

Back at the station, Purvis and Barnes finally see Katharine ‘Kate’ Mallory (Gale Storm), and they act like she is good-looking, but she is just wholesome, like “My Little Margie” 1952-1955. Purvis put the moves on Kate before Barnes gets back to the office. Barnes asks her to go out with the two of them, but she refuses. But eventually relents under pressure.

The two cops take Kate to Garris’ club, which seems odd. They find out that Kate is the daughter of a police officer who was killed in the line of duty. Leo Cusick (Roland Winters) enters the club, and Purvis recognizes him as an eastern mobster.

In the back, Cusick tells Garris that they are moving in on the operation. Garris refuses and rudely sends them away. Garris’ man sees Purvis in the club and reports back to his boss. Barnes says that the songbird is Garris’s girlfriend, Terry Romaine (Gale Robbins). Purvis says she is a tramp for hooking up with Garris.

Garris comes to the table and warns the cops to stay away from him. They have some fast talking, and the cops leave. Kate says no more dates because they are cops. Barnes doesn’t know why Kate feels that way.

Kate’s mother, Mrs. Mallory (Madge Blake), is happy that Kate has met some nice fellows, but is sad when Kate says she will never get involved with a man who could be shot on the job, as her father was. 

In the morning briefing, they are told that some armed robbery suspects are headed their way. The group is also briefed about Cusick moving in and using the Premier Loan Co. as headquarters. They use legitimate loan businesses to access the assets of people who are in debt to the gamblers.

That night, Kate finds out that her mother has rented their spare flat to a “nice couple.” When the couple arrives, it is Purvis and Barnes. Kate is unhappy with the pair moving in so close to her. Barnes has a World War II .30-cal. M1 carbine with him as he moves in.

The two cops make so much noise that Kate storms over. They calm her with charm and by showing her their war souvenirs. Pictures confirm that they were war buddies and both were Marines. So, that explains a lot.

Garris tells Terry that he has to go out to take care of some business. Garris and some of his boys lurk outside the Premier Loan Co. They use Tommy guns to kill Cusick and maybe some others. A call comes into the police about the shooting. Kate goes to the communications center with the Lt., who directs cars to intercept the shooters. Purvis and Barnes are sent to Verno Highway to block the shooters.

Purvis and Barnes begin chasing the getaway car. Kate is living in fear for her friends. Garris shoots at the police car, and the radio goes silent. Barnes hits Garris and then hits Quist, who is the driver. Garris tries to buy his way out of the arrest. Quist is dead. They make a clean collar.

The Lt. and Kate arrive at the arrest location. She kisses Barnes when she finds out he is safe. So, it seems he has won the competition.

Later on, it is revealed that Kate and Barnes are going to get married. Barnes tells Purvis that he is still part of the family and should not be pulling away from the couple. He withdraws anyway.

A verdict is reached in the Garris trial, and the jury nails him for 1^st degree murder. He is sentenced to death. Garris tells Terry to stay put and not flee. He then issues a threat to Purvis and Barnes.

Before he can be transferred to prison, Garris bangs his arm against the bars until his gunshot wound starts bleeding. They take him to a doctor, but it is a setup as Garris’ men shoot the cops and allow the murderer to escape. When the cops arrive, Garris jumps on a bus to escape. The police killed the three men who helped him escape at a roadblock. Purvis and Barnes are warned to be careful and watch for an ambush from Garris.

Garris stalks Purvis and Barnes while they are on patrol duty. Garris shoots, and Barnes is hit. He is taken to the hospital with wounds to the head and torso. The doctor signals Purvis that Barnes is not going to make it. Kate comes to the hospital and handles the situation stoically. Barnes dies of his wounds.

The police begin an all-out search for Garris. Terry is still singing at the club. Purvis keeps going to the club with Kate, trying to find a lead. Purvis is obsessed with vengeance. Finally, he follows Terry into the dressing room. He tries to beat the information out of Terry. Kate is shocked by Purvis’s brutality toward Terry. Kate pulls away from Purvis and tells him that a brutal cop is too dangerous.

Terry arrives home. A police surveillance team is watching her. The police hear Garris entering Terry’s apartment. Terry is packing to leave, but Garris wants her to escape to Mexico with him. As he forces her to get ready, the police swarm to the building. The neighbor girl, Kathy, comes to visit, and Garris plans to use her as a hostage. Kate arrives with the Lt.

When Garris finds he is trapped, he shoots at the cops and dangles the child over the ledge. The cops are forced to pull back. Purvis sneaks around back carrying a gas bomb. Purvis is able to throw the gas, but Garris draws a bead on the cop. Terry steps in the way, taking a bullet and saving Kathy and Purvis.

Purvis fills Garris with lead, including one in the back for insurance. Terry is dead, but Kathy is saved. Kathy’s mother thanks Purvis for saving her child. Purvis changes, saying Terry might have been okay if she had never met Garris. Kate and Purvis walk away arm in arm. She says he is starting to sound like Barnes.

Conclusion – Between Midnight and Dawn (1950)

This type of buddy cop film was pretty common from the 1960s onward, but this film is among the first of its kind. Growing up with Dragnet and Adam-12, it is odd to think of a time when Americans didn’t watch television police work with glee.

In this Film Noir, Edmond O’Brien was as solid and gruff as ever, the very model of an American tough guy. However, he was not given top billing despite carrying the film. The gangsters were not as fleshed out as they should have been. And of course, Gale Storm, although she was in a few Film Noirs, such as Abandoned (1949) and The Underworld Story (1950), she still came off as too sweet in this movie. 

TCM’s Eddie Muller said in his outro for this film that an earlier version of the script hinted that Purvis was homosexually attracted to Barnes.[4] It’s barely present in the released version of the film. 

World-Famous Short Summary – If loving you is wrong, I don’t want to be right.

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[1] https://www.imdb.com/title/tt0042242/
[2] Between Midnight and Dawn | Rotten Tomatoes
[3] https://www.nytimes.com/1950/10/02/archives/the-screen-3-movies-have-local-premieres-between-midnight-and-dawn.html
[4] Noir Alley – Between Midnight and Dawn (1950) outro 20230604 – YouTube