They Drive By Night (1941) DVDRip (SiRiUs sHaRe).avi
They Drive By Night (1941).rtf
They Drive By Night (1940)
Brothers Paul and Joe Fabrini run a trucking business in California mainly shipping fruit from farms to the markets in Los Angeles. They struggle to make ends meet in the face of corrupt businessmen and intense competition. They are forced into driving long hours and one night pick-up waitress Cassie Hartley who\'s just quit her job at a truck stop. The three of them witness the death of a mutual acquaintance when he falls asleep at the wheel. This has a profound effect on Paul and Joe and they become determined to find a way to make the business pay so they can quit.
George Raft ... Joe Fabrini
Ann Sheridan ... Cassie Hartley
Ida Lupino ... Lana Carlsen
Humphrey Bogart ... Paul Fabrini
Gale Page ... Pearl Fabrini
Alan Hale ... Ed Carlsen
Roscoe Karns ... Irish McGurn
John Litel ... Harry McNamara
George Tobias ... George Rondolos
Not much action here for a \"film noir\" and really more of a melodrama than a crime story, but I still like this because the story\'s decent and it features a top-flight cast of actors who are usually fun to watch.
That cast includes George Raft, Ann Sheridan, Ida Lupino, Humphrey Bogart and Gale Page. My favorite of the group - in this film, at least - is Sheridan, a wise-cracking waitress. Raft and Bogart are truck drivers and Lupino plays the boss\' wife. In here, the two women are more interesting than the men, which says a lot considering its Raft and Bogart.
Sheridan not only is easy on the eyes but delivers some great film-noir-type lines. Unfortunately, the edge is taken off her once she leave the diner and hitches a ride with Raft to Los Angeles.
Bogart plays more of a low-key family man whose wife (Page) is the nice- looking, wholesome type. This is one of the last movies Bogart made before he became a star. Hence, he gets fourth billing in here.
Lupino is very good as the vicious scorned woman, a role she found herself playing in a number of films.
As mentioned above, I\'m not really sure how one would classify this film since there is humor, film noir, soap opera, straight drama and romance all in it. The combination makes the film interesting and recommended.
This is the kind of movie that makes movie buffs movie buffs. On the surface the story is routine (I\'m tempted to say hackneyed), the psychology shallow, the acting variable, and the meaning, such as it can be said to have one, borderline moronic. Yet it works like a charm, and is a minor classic of its kind. This is a tough movie to categorize. Not that one has to. It\'s a long haul trucker movie. But is that a genre? It has comedy and romance but is neither a comedy nor a romance; and it has tragedy but is not a tragedy. Near the end it turns into a murder story, though I wouldn\'t call it a crime picture. Director Raoul Walsh had a flair for subverting genres anyway, and made basically Raoul Walsh pictures, whatever the putative genre, and this one\'s about as Raoul Walsh as you can get.
It\'s the story of two brothers, played by George Raft and Humphrey Bogart, who are wildcat truckers who don\'t want to work for anyone else. They\'d like to own their own rig but can\'t afford one, and are in debt up to their ears half the time. As the story progresses, Bogart loses in arm in an accident, and the boys have to go work for the boorish if amiable Alan Hale, whose wife, Ida Lupino, has eyes for Raft. Ann Sheridan is also on hand, as the hash-slinging good girl Raft really belongs with. Nothing special here, no great drama, and certainly no surprises. What drives the film, literally, is its optimism, especially as it relates to \"little guys\" Raft and Bogart. Without being too emphatic about it the movie is like a cheerleader for these two from start to finish.
The dialogue is salty and well-delivered by all, even the usually tedious Raft, while the background stuff,--the diners, rented rooms and garages--is beautifully detailed and always believable. Director Walsh was made for Warner Brothers, the studio that produced the film. He had a feeling for regular people, informal surroundings, the hustle and bustle of working life. Nor was he the least bit pretentious. The studio\'s famous liberalism didn\'t seem to rub off on him. He remained a populist with an anarchic streak, and was never an ideologue, hence this movie\'s depiction of blue collar life rings truer than most, as we know that these little guys want to be big shots (as most little guys do), and that they mean it when they say they want to give everyone a fair shake. We know in our guts that if these two ever make it to the big time they\'ll be awfully nice guys to work for. It\'s not easy for a movie to convince a viewer of such things,--it\'s not easy for a movie to be convincing at all, but this one is. Thanks to Raoul Walsh, with a little help from his fine cast.
They Drive By Night from the working class studio of Warner Brothers is one of the earliest examples of sexual harassment shown on screen. Ida will do anything to possess Raft even kill for it.
The film really belongs to the women here. Ann Sheridan and Ida really do dominate this film, especially Ida with an over the top performance of a woman driven mad by her obsession.
Back in the day it was the habit of studios to make sure they had lots of backup in their roster. Bette Davis was legendarily feuding with Jack Warner for better roles and she had staged a well publicized walk out on her contract. I have no doubt that this film was to build up Ida Lupino as a Davis alternative. The part Lupino does play has Davis written all over it.
My guess is that Davis would not have wanted to appear opposite George Raft any more than opposite Errol Flynn. So the part went to Lupino who recognized a good role and ran away with it.
Humphrey Bogart is totally wasted in the brother part. He loses an arm in the wreck and has little to do, but be supportive to his brother and resist taking charity. He and Lupino would both boost their careers in their next film High Sierra.
For those who like to see people crack up on screen, They Drive By Night is the film for you.
# Continuity: When Joe Fabrini first sits at Carlsen\'s desk, Carlsen strikes a match and lights it. Upon cutting to a different angle, Carlsen doesn\'t have a match in his hand, although it was flaming brightly prior to the edit.
# Continuity: Paul and Pearl Fabrini are talking as they wait for Joe. She does up the button of his shirt and he moves to the mantel. The button alternates between done up and undone during the remainder of the scene.
# Continuity: In one of the final scenes, Irish\'s work hat clearly bears the company name \"Carlson\". The company name is spelled \"Carlsen\" on the sides of the trucks.