All Night Long (1962)

Director: Basil Dearden

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By Marilyn Ferdinand

British director Basil Dearden hasn’t got nearly the reputation he deserves. As one of the creatives at Ealing Studios during the 1940s and 50s, his films captured a specific time and place in his native land and helped to broker the image to the outside world of a public-spirited country working to come to terms with the changing social landscape of a postwar Britain. He had a particular penchant for confronting social problems—particularly race relations—in his films, of which Sapphire (1959) is probably the best known. Originally a theatre director, Dearden used plays as his earliest cinematic material, a well he returned to with All Night Long.

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Indeed, All Night Long taps the grand master of British playwrights, William Shakespeare, as a loose adaptation of Othello. As drama, All Night Long suffers in a way many music fans might wish more films would—by featuring prominently the many jazz luminaries who provide the music for an anniversary party thrown by millionaire Rod Hamilton (Richard Attenborough) for jazz singer Delia Lane (Marti Stevens) and her musician husband of one year, Aurelius Rex (Paul Harris).

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The milieu for All Night Long is both gritty and exclusive—a loft in a rundown area near Soho, the capital of cool for 1960s London. We know we’re in for a hip time when Hamilton enters the loft to supervise preparations for the party and finds jazz great Charles Mingus plucking idly at his double bass. The set-up crew vie to act as waiters for the party, and then the guests start to arrive.

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In terms of the drama, the most important partygoers are saxophonist Cass Michaels (Keith Michell), a close friend of Delia’s from before her marriage, and Johnny Cousin (Patrick McGoohan), a drummer in Rex’s band who is desperate to go off on his own. The only way Johnny will receive backing from impresario Lou Berger (Bernard Braden) is if Delia will sing with Cousin’s band. But Delia has retired to prove to Rex that he is her top priority. Therefore, Johnny hatches a plot to break up their marriage that very night, using Delia’s relationship with Cass to provoke Rex to jealousy.

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It was smart for Dearden to choose a timeless classic to drive the film’s plot, as he needed something that could stand up to the musical performances that comprise about half of the film. In general, he does a good job of melding the two and pacing the film to accommodate the musical digressions—or perhaps I should say, the plot digressions. For it is impossible to gauge this film’s importance and entertainment value separate from the many legendary musicians who provide the incidental music and jazz set-pieces.

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The musician given the most prominence is Dave Brubeck, who is featured performing two of his own compositions, the superb “It’s a Raggy Waltz” and “Blue Shadows on the Street.” The long list of British musicians who contribute their talents to the film includes Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Barry Morgan, Kenny Napper, Colin Purbrook, and John Scott. Dearden regular Philip Green and Scott contributed most of the tunes and soundtrack elements played in the film. Marti Stevens is a decent actress and terrific British songbird who performs affectingly the ballad “All Night Long” and shows off a more swinging style—intended as a surprise for Rex—with the great jazz standard “I Never Knew I Could Love Anybody Like I’m Loving You.” I was disappointed that Mingus, one of my favorite jazz musicians, had almost no screen time; indeed, his dialog at the beginning of the film comprised his “showcase.” Nonetheless, watching the jam session and performances in this stage-managed loft felt like the real deal to me, revealing Dearden to be a canny verite director with a sensitivity for making music at least partially a visual experience.

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In general, the performances of the actors were quite fine. I was particularly taken with Paul Harris, a commanding actor who was every inch an Othello, and seemed to be adept at the piano as well. His demeanor when confronted, bit by bit, with evidence of Delia’s apparent infidelity built with a contained fury that released in a final, near-deadly confrontation for both Cass and Delia. When he knocks Cass over a railing on the second level of the loft, the shock of watching him in a high-angle shot fall and hit a coffee table is sudden and painfully real.

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The Australian-born Michell is one of Britain’s finest actors, one who knocked me out as Henry VIII in the BBC production of “The Six Wives of Henry VIII.” I believe I see a bit of the young Henry in his portrayal of the sensitive, but immature Cass who can’t make up his mind about committing to his girlfriend Benny (Maria Velasco). This interracial couple, like Delia and Rex, simply exists in this movie without comment, offering us the colorblind world of jazz before it was widely accepted elsewhere.

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As with Othello, All Night Long belongs to the Iago character, Johnny Cousin. Patrick McGoohan adopts rather unnecessarily a mediocre American accent, but not much else about his performance seems off. His machinations are a bit difficult to follow because, like the jazz musician he is, he seems to be improvising his plan as he goes along. Nonetheless, his single-mindedness is portrayed with cold calculation by McGoohan, and his increasing desperation reflected by Emily (Betsy Blair, in a terrific performance), the wife he never loved, in her pathos at being his well-worn doormat.

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The climax of the film might have been the wrenching scene in which Rex tears Delia’s pearls from her neck and chokes her, but this film isn’t meant to be a bloodbath. Johnny’s scheme is uncovered by a barely conscious Cass, who awaits an ambulance with Benny at his side. Johnny’s rage drives him to the drum kit, where he beats out his frustration in a brilliant stroke by Dearden and McGoohan. Reportedly, McGoohan taught himself to play drums over several months of locking himself away to practice, and the extra effort makes this scene the emotional core of the entire film. We may feel relieved that love survived Johnny’s efforts to kill it, but the villain’s passion commands our attention as well.

  • Roderick spoke:
    2nd/08/2013 to 10:03 pm

    Mare, thanks for this great review of a film I’ve appreciated for a long time and meant at some stage to write up myself (I think I mentioned it in my old Free Cinema piece). It’s such a clever reworking of Othello, and a fearsomely cool snapshot of a bygone cultural niche, rendered as a kind of urbane Beat noir. Dearden is indeed an extremely underappreciated director — his The League of Gentlemen and Victim, made just prior to this, are also extraordinary. McGoohan’s American accent was always kind of weird, especially considering he was American. But that final drum solo of his is a compelling study in thwarted narcissism, whilst the revised ending of the play is a gleeful affirmation of Dearden’s progressive bent.

  • Vanwall spoke:
    2nd/08/2013 to 10:18 pm

    One of the best Shakes adaptations by far. And freakin’ great jazz! It benefits from the somewhat claustrophobic set, as well, pushing everyone and everything closer for a more intimate betrayal. McGoohan was always intense, and in this role, he really climbed out of the screen and into another, crazier state. Dearden , like many Brit directors are unfairly marginalized – his films are uniformly interesting. Excellent post!

  • Peter Nellhaus spoke:
    3rd/08/2013 to 6:05 am

    I saw this a while back when it was available through Netflix Instant. Dearden could benefit from re-evaluation. I recently caught up with Violent Playground, also on Netflix Instant. Khartoum is a still timely reminder as to the folly of western military forces in the Middle East.

  • Marilyn spoke:
    3rd/08/2013 to 7:17 am

    Thanks all for your illuminating comments.

    Rod – I didn’t know McGoohan was American! Well, blow me down. He must not have spent much time here. And yes, you did mention him in your Free Cinema post, the place where I first really learned about Dearden. So my thanks to you, too!

    Van – I think Dearden’s facility with stage direction helped him tremendously with this film. You can almost imagine him wanting to set up shots and shadows while directing a play. I think he does a tremendous job of moving the actors around the set and developing the mood with lighting and tight shots of the actors faces. Really brilliant work.

    Peter – I’ve been discovering Dearden more myself. I have All Night Long on a four-disc set called Dearden’s London Underground. Great stuff.

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