This neat little noir thriller is a rare find. The dialog is witty and clever. The acting, mainly by a second-line cast, is better than in many bigger budget movies. I was especially impressed by Myrna Dell's performance. Plus she had some of the best lines in the flick, i.e., "He was a lady killer. But don't get any ideas. I ain't no lady." Another line, "Who ever heard of a detective wearing a hat," is uttered by a dance hostess instructing Dt. Joe Warner (George Raft) who is trying to squeeze information out of her about the suicide (the audience knows it is murder)of composer Keith Vincent (Edward Ashley). Such witticisms are scattered throughout the film.
Many critics rate George Raft's performance in "Nocturne" as poor at best. But actually he plays the part fairly well as the director, producer, and writers intended for Joe Warner to be. He is a mama's boy (40's and still living with mom). He is definitely a Hitchcockian lead character - producer Joan Harrison comes in to play here. Hitchcock would take this image to its utmost realization with Norman Bates. As critics have pointed out in other IMDb reviews Joe Warner's mom (Mabel Paige) has some of the best scenes in the movie. Since he is living at home and obviously supported by his mother, Joe can afford to indulge in going his own way. He does not have a family to support. One reason he is so interested in the case is his love for music. He and his mom both play piano. In one scene he talks about spending much of his spare time attending the opera. So music and murder intertwine. "Nocturne" is appropriate as a title, not only because it is the name of the murdered's composer last composition which he had not quite finished when shot to death, but nocturne also connotes L.A. nightlife where much of the action in the film takes place. Nocturne can also be used to describe the tangled minds of many of the frequenters of the clubs and hang-outs in the film.
Some critics have mentioned that no answer is given as to why the womanizing murdered composer called all his girlfriends Delores. The writers were attempting to point out that like most womanizers, Keith Vincent was only interested in women as sex objects. A woman had no existence in his mind beyond her genitalia. He wanted sexual conquest, not commitment or any kind of romantic relationship. So to him all women had the same name. Why he chose Delores is left to the viewer to decide. Again, the influence of Joan Harrison manifests itself. Hitchcock left much to the viewer's imagination. How did James Stewart get off the roof from which he was dangling in "Vertigo?"
If you have not seen "Nocturne," you are in for a treat, one of the lost treasures of the 1940's.
Many critics rate George Raft's performance in "Nocturne" as poor at best. But actually he plays the part fairly well as the director, producer, and writers intended for Joe Warner to be. He is a mama's boy (40's and still living with mom). He is definitely a Hitchcockian lead character - producer Joan Harrison comes in to play here. Hitchcock would take this image to its utmost realization with Norman Bates. As critics have pointed out in other IMDb reviews Joe Warner's mom (Mabel Paige) has some of the best scenes in the movie. Since he is living at home and obviously supported by his mother, Joe can afford to indulge in going his own way. He does not have a family to support. One reason he is so interested in the case is his love for music. He and his mom both play piano. In one scene he talks about spending much of his spare time attending the opera. So music and murder intertwine. "Nocturne" is appropriate as a title, not only because it is the name of the murdered's composer last composition which he had not quite finished when shot to death, but nocturne also connotes L.A. nightlife where much of the action in the film takes place. Nocturne can also be used to describe the tangled minds of many of the frequenters of the clubs and hang-outs in the film.
Some critics have mentioned that no answer is given as to why the womanizing murdered composer called all his girlfriends Delores. The writers were attempting to point out that like most womanizers, Keith Vincent was only interested in women as sex objects. A woman had no existence in his mind beyond her genitalia. He wanted sexual conquest, not commitment or any kind of romantic relationship. So to him all women had the same name. Why he chose Delores is left to the viewer to decide. Again, the influence of Joan Harrison manifests itself. Hitchcock left much to the viewer's imagination. How did James Stewart get off the roof from which he was dangling in "Vertigo?"
If you have not seen "Nocturne," you are in for a treat, one of the lost treasures of the 1940's.