Tuesday June 09, 2020
Movie Review: They Drive By Night (1940)
This is an historic movie. Most people don’t know that.
No, it wasn’t acclaimed at the time, garnering no film awards or even nominations. I doubt it did any kind of boffo box office. And the storyline is muddled. The first half is about two brothers, Joe and Paul Fabrini (George Raft and Humphrey Bogart), wildcat truckers struggling to survive in a tough, bottom-line world. The second half is about the screwy dame (Ida Lupino) who has such a thing for Joe that she kills her husband (Alan Hale) to give him an opening. Which Joe doesn’t take. So she pins the murder on him.
So why should we consider it historic? Because Bogart's next movie was “High Sierra,” and one after that he did “The Maltese Falcon,” and three after that he was cast in “Casablanca.” He’s fourth-billed here but afterwards he’ll always be the lead. He'll become the biggest Hollywood star of the 1940s and at the end of the century the American Film Institute will vote him the greatest male movie star of all time.
And he owes it all to his co-star on this one.
That’s well-known, right? That George Raft kept turning down the roles that made Bogie Bogie? Raft was offered “High Sierra” but didn’t want to die in the end. He turned down “Maltese Falcon” because he didn’t think it was an important picture. He even turned down “Casablanca.” By the end of that one, Raft was no longer the star; he was the asterisk.
In this one, he’s the star. The Fabrini brothers begin this thing on the road, exhausted, in hock, and one step ahead of the creditors. After a mishap, Joe winds up at a roadside café where one guy, Irish (Roscoe Karns), is stuck at a pinball machine because he keeps winning, and where the rest of the guys are making eyes at the waitress, Cassie (Ann Sheridan, the “oomph” girl), who takes no crap.
Paul, perpetually sleepy, wouldn’t mind getting off the road for good. It’s not just the long hours; he’s got a wife who wants kids, who wants a family, and who wants him home. But Joe’s got a dream of turning this haul into that profit, and that haul into another, until they own a whole fleet of trucks, see? So he keeps pushing. And suddenly they’re doing kinda OK. They buy a load of lemons and sell them for several times their value. They pay off the truck and are on their way. But at gas station, the same gas station they always seem to wind up at, the attendant wonders why Joe is always driving while Paul is always asleep. That doesn’t seem right to him. Joe suddenly cares what somebody else thinks—this gas station attendant, of all people—so he and Paul switch places. Ah, but Paul, sad Paul, forever sleepy Paul, falls asleep at the wheel and goes into a ravine. Joe is thrown clear. The brothers lose the rig and Paul loses his right arm.
That sets up our second half. Without Paul, Joe finally agrees to get off the road and take a job with his friend Ed Carlsen (Hale), a former trucker who now owns the proverbial fleet. He also has a slim, perpetually scowling wife, Lana (Lupino), whose every cutting remark Ed laughs off. He doesn’t see that she has eyes for Joe, nor how uncomfortable it makes Joe—who is with Cassie now. Ed doesn’t see the danger.
We do. At a party, Ed gets drunk, a disgusted Lana drives him home, and in the garage, staring at him asleep in the passenger seat, she gets an idea: a wonderful, horrible, awful idea. With the motor still running, she slowly eases herself out of the car and onto the driveway and past the censor that automatically closes the garage door—new tech which Ed proudly showed off earlier in the movie. And as the music wells, those doors close onto Ed like a tomb. Next scene, she’s tearfully explaining to the police how Ed must’ve driven himself home and… Sob!
I assumed the censor would be the clue that nails her—since how could the garage doors close unless someone walked past it—and it is, but not that way. It’s the blood stain for her Lady Macbeth. Anytime she sees a censor, she panics, and relives her crime. At Joe’s murder trial, she breaks down on the stand. There’s not even any suspense to it. She’s a state’s witness but she cracks without effort.
Stuff dreams are made of
After all that, Joe wants to leave Ed’s company but none of the rest of the guys are having it. So he stays on as president, with Paul by his side. They finally have their fleet of trucks, and good women at their sides. Yay.
None of it really works. Sometimes that happens no matter the talent involve. So you regroup and try again. Director Raoul Walsh regrouped and made “High Sierra” with Bogart. Then he regrouped again and made “Manpower” with George Raft and Edward G. Robinson as friends on an LA power-company road crew who compete for Marlene Dietrich. You get why Raft went that route. Him and Robinson and Dietrich? Seems like a winner. Makes way more sense than working with that rookie director who’s trying yet another version—the third version in 10 years!—of Dashiell Hammett’s silly novel about a black bird.