User Reviews

. . . wealth-hoarding Royalists (aka, The Nobility), a smattering of trades people catering to the whims of these Fat Cat One Per Centers and a vast majority of impoverished wretches who try to eke out a "living" in squalid slum "projects," LONDON BY NIGHT reveals. Scotland Yard cares only about protecting the first (and, to a much lesser extent, the second) classes of space occupants from the imminent revenge to be exacted by the swindled, anonymous, expendable and often overlooked regular Jacks and Jill's teeming underfoot (such as Bessie and Bill in this story). LONDON BY NIGHT proves that the myopic snobs at the top of the British pyramid are so blind to the Reality of normal people that Sir Arthur can have one of them--Correy--residing in his house (and literally at his elbow) for five years, and never realize that his private secretary is a serial killer with at least FIVE personalities! In a nutshell, it's King George III and America all over again.

If truth in advertising laws were applied to motion pictures, London By Night would have been titled Backlot By Day, because this is one of the least convincing London-set features made by any American studio. George Murphy barely makes an effort as Michael Denis, an Irish reporter (with an American accent) mixed up in a murder investigation, and most of the rest of the cast deliver their lines in equally unconvincing fashion. Only George Zucco, as a police inspector, makes much of an impression, and the story itself is minor stuff indeed. At least Corky the dog doesn't embarrass himself too much, delivering a convincing portrayal as Jones, Denis' faithful canine pal.

A London journalist has to postpone his vacation to follow up on a serial killer (the Umbrella Man) at large in the city. Sure enough, some stock footage of Big Ben and London Bridge, then Micheal talking to his dog in his hotel room. His editor has just called, saying he has to stick around for a big story. On the street he meets Bill.

Michael goes into the neighborhood pub. The barmaid, Bessie tells him about 'The Hatchet Man'. Bill, meeting her outside, talks about their boss, Tim. Meanwhile, The Umbrella Man emerges from the bushes and goes into Casey's shop. Has that ne'er do well killed Tim? Looks like a false alarm. "Casey, pay or be seen no more" reads an ominous note. Out on the waterfront, a policeman is shot. That turns out to be where the murderer dumped Casey's body.

Inspector Jefferson shows up at Casey's, and is shown the note. A man with a German accent comes in. Michael spots the Umbrella Man lurking about. He follows him, and tackles him. Actually, the guy was the Herrick's butler, Squires. Mike chats up Patricia, Sir Arthur's daughter. She knows him from his journalism. The police are still puttering around at Casey's. Mike takes his leave, still thinking he's going to be off to Paris in the morning.

At the pub, Bessie is going on about the Umbrella Man. A furtive pips-smoking guy sits at the edge of the bar; Jones, the dog, starts growling at him, and the stranger leave. just then, another message comes crashing through a window: it's directed at Mike--a warning to stay off the case. In the morning, Mike looks in on the Inspector: no clue about where the note came from, or the whereabouts of Casey's body.

Patricia meets up with Mike. He talks her into going to the pub. The strange guy from the night before is there, but is again scared away by Jones. The Germanic guy, Von Krantz, comes back to rent a room. He's in a hurry; all they know about him is that he was a friend of Casey's (the victim himself is virtually unknown). The next clue is a chalk mark on a shilling found on the pubs garbage can. The tell-tale sign of Umbrella Man, who must therefore bs the mysterious stranger, known only as Rabbit Man. That guy had said he'd lost just that amount of money there.

Umbrella Man is prowling around near Casey's; as Mike peeps through hole in the wall, someone enters the shop: big deal, it's Patricia. While they're bickering, a gunshot rings out from the peephole. Mike accosts another umbrella suspect: it's Squires again. But could he be THE Umbrella Man? The German guy is talking to someone in the rooms above the pub. When Bessie goes to investigate, she's shot. Then we see umbrella man stomp out, his back to the camera, as usual.

So, the plot thickens.Bill finds Bessie's body. The inspector thinks the Rabbit Man is ths Umbrella Man. Mike isn't so sure. Apparently, Krantz is missing. "I think this is all part of an insane plan" notes Mike. Jones hides in his doghouse. A creepy montage of creeps plays for a few seconds. Sir Arthur seems only worried about how his reputation is impugned by implicating Squires.

Sir Arthur gets a call from a blackmailer: £10,000 or Patricia is in danger. The immediate result is that Sid Arthur accepts Mike as a sincere good guy. Cunningly, the drop place is a non-existent address. Meaning that the murderer intends to waylay the pay off person who's will be stuck on a wild goose chase. The cops, Mike, and others, take other a mailbox where Sir Arthur drops a decoy package (supposedly the blackmail money). Nothing happens.

Aha! Umbrella Man pokes out of the bushes; the cops see the umbrella, and close in. Bit it's just that, an umbrella. They hear a groan: it's the postman, who was conked by the Umbrella Man. The decoy package was taken. The Inspector thinks the whistling is the Umbella Man's, but it's Mike. He's figured out that Casey wasn't murdered, and von Krantz isn't missing, because they are all one in the same (including the Rabbit Man).

All of a sudden, Mike concludes that Correy, Sir Arthur's secretary, is the Umbrella Man. He has "dreams of money and power" as he removes a disguise, anxdgrabs Patricia. He gives the good guys the slip,escaping with her as hostage. It's actually Jones that is the crackerjack detective: he growled at all the of Correy and all his manifestations. Bill's shot attempting to stop them. Mike, lying on the ground as though he's the dead Bill, surprises Correy. After wrestling a bit, Umbrella Man is shot. The end.

This is great stuff--much better than I anticipated. The concept of the suspects turning out to be the same person (with Squires as red herring) is very clever. Also, the dog literally coming up with the crucial clue works nicely. Also, the light-hearted touch provided by Mike's character blends in seamlessly. Sure, this is typical '30s mystery/comedy; but it's done right.

The only problem I have with the plot (and the movie generally) is that Correy is virtually invisible until everything's know. Squires is of course too obvious a suspect, but Correy is really too obscure. What adds up is the notion that the murderer must be connected with the Herrick's in some way. That's why we have the otherwise coincidental scene of Mike pursuing the Umbrella Man to Sir Arthur's early on.

There's also the strange fact, that, although several people die, some technically never existed (as separate individuals, that is), though they might come back. The nature of identity is up for grabs here. I;m not claiming that th film makers were making an existentialist point on the nature of reality; still, it's interesting to ponder, apart from the overt need of the Umbrella's character to cover his tracks with deceptions.

Although perhaps only the opening panorama of the London skyline is authentic, the sets are nonetheless believable, even if they're all studio material. The overall effect of the foggy environment not only helps a to the atmosphere, it also obscures details that could otherwise give away the pedestrian locale.

A very entertaining, fast-paced mystery. Highly recommended.