They Drive by Night (1938)

Such a frustrating disappointment

Let's be realistic.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This 1938 film was released in the US by Warner Brothers and I assume it was made by their British division originally (due to British laws, several of the big US studios had British divisions making films as well). Regardless, it has nothing much to do with the more famous 1940 film by Warner.The film finds Shorty Matthews (Emlyn Williams) getting out of prison at the same time an inmate is being executed. This is significant because Short is rather ambivalent towards the man's plight--and soon he'll be in a similar position. This occurs when Shorty goes to visit an old girlfriend and he finds her dead. Instead of handling it like a guy with a brain, he runs--and ends up making everyone think he's the killer. Instead of going to the police, this guy spends the rest of the movie avoiding the police dragnet and trying to figure out who is the real killer. The film has a few minor flaws. I guess I could accept that Shorty was stupid but perhaps not too unusual for avoiding the police. However, the ending, while really cool to watch, really didn't make a lot of sense. But, the film has a lot of tension and some nice performances. Overall, the good far outweighs the bad and the film is worth your time.

They Drive by Night is directed by Arthur Woods and collectively written by Paul Gangelin, Derek Twist and from his own novel; James Curtis. It stars Emlyn Williams, Ernest Thesiger and Anna Konstam. Music is by Bretton Byrd and cinematography by Basil Emmott.Just released from Pentonville Prison, Shorty Matthews (Williams) visits a lady friend and finds her murdered in her own bed. Pannicking and believing the police will have him marked for the crime, Shortie goes on the run in the hope that the real killer will be caught...It's still something of a lost British treasure is Arthur Woods' They Drive By Night, it's a film that has gained justifiable high regard by those who have managed to track it down for viewing. Essentially a innocent man on the run picture at its plot core, it's the surrounding meat on the bones that lift it to classic suspense noir status.The Thrill Of Evil.It's a picture of persistent rain that lashes the streets and highways, the wind an aural accomplice of some magnitude. A tale infused with grim snack bars, gambling dens, abandoned buildings or artisan abodes that are inhabited by either crafty cockney's, spivs, macho truckers or camp fetishist maniacs! And of course our protagonist is up against it from the off, wherever he turns he seems destined to be the victim of fate and circumstance.Sex In Relation To Society.As a portrait of pre Second World War British society it's gloomy and unrelentingly bleak, with Woods (sadly to die in the War) and Emmott achieving a stunning sense of time and place by way of dim lights and contrasts that ensures moody atmospherics go hand in hand with the machinations of the story. This can very much be seen as a forerunner (influence) to some of the great British noirs that followed a decade later.Studies In Murder.Some scenes get under the skin and stay there, while others surprisingly enchant the soul; such is their beauty. Lead cast performances are mightily strong, with Thesiger the star as he enters the tale late in the day and turns in a creepy show that startles in the way that calmness of evil is portrayed. While Thesiger's facial features are used to maximum potential by the astute director.Only real problem here is the musical score by Bretton Byrd. Too often the music is ill fittingly jolly, it immediately conjures up images (to those familiar with 1930s British comedy movies) of the films made by the great Will Hay. Sure enough on examination we find that Byrd did indeed provide the music for four Hay movies in the 30s, and it sadly shows in a film that doesn't deserve such jollification.Musical problem aside, this is a ripper of a movie, worthy of better exposure and definitely of major interest to anyone interested in the early steps of British film noir. 8.5/10

I saw this movie for the first time a few days ago and I was glued to my seat for the entire period by its pace and photography which though low-key is extremely moody and effective. The pace is electric but due to low budgeting as all British movies of the period dampens the viewing a little. What the film lacks in production value it makes up amply in its narrativeEmlyn Williams captures all the emotions of a Wrong Man syndrome a la Hitchcock.The psychopathic Professor chills with his menacing looks. The only flaw is that the film starts with something to talk about the lorry drivers (which is incidentally the title) but strays away.Quite surely WB had this pictorial gem cleared from their lists to provide better promotional value to their film of the same name made in the US with George Raft.

The 1938 British noir suspenser 'They Drive by Night' is one of the best films I've ever seen. First, let's address that title: is this movie related to the same-named 1940 Humphrey Bogart movie? Yes, but very distantly. The 1938 'They Drive by Night' was produced by Warner Brothers' British unit, and offered for distribution Stateside. Jack L Warner declined to release this film in the States (he must have been insane!) ... but he was impressed by its title, and he ordered one of his American production units to make a film with that title. Of all the Hollywood studios, Warners were the most efficient at cannibalising their own material: the American 'They Drive by Night' is partially a warmed-over remake of the earlier Warners film 'Bordertown'. Both "Drive by Night"s depict the culture of long-distance lorry drivers ... but the British film captures that dark world much more believably.'They Drive by Night' (the British one) is occasionally compared to Hitchcock's 'Frenzy' (both films deal with a sex maniac who uses his necktie to strangle women, and both depict an innocent man caught in the middle), but 'They Drive by Night' more closely resembles the novel by Arthur La Bern on which 'Frenzy' was based. (Unlike Hitchcock's film, the source novel takes place shortly after World War Two.) Emlyn Williams gives a standout performance as Shorty, a petty criminal who has just been released from prison, and who goes straight away to look up an old girlfriend. When he gets to her walk-up bedsit, he discovers she's just been killed by a sex murderer ... and the circumstances of the murder make Shorty the logical suspect. In Hitchcockian fashion, he tries to stay one jump ahead of the police while seeking the real killer.SPOILER ALERT. The scene in which Shorty tries to waken his sleeping girlfriend ... only to discover that she's actually dead, and THEN to discover that she's been murdered ... is one of the most powerful sequences ever captured on film. As the horror of the situation sinks in, Shorty stands silently ... and far away, elsewhere in London, we hear a church clock chiming the hour. Pure brilliant, that is.That wizened old ham actor Ernest Thesiger gives one of his ripest performances in this film ... and it's giving nothing away to reveal that Thesiger plays the murderer. He makes his first appearance late in the film, but the first time we see him he's lovingly updating his scrapbook of newspaper cuttings concerning the Necktie Strangler. Later, confronted by some damp kittens, he fusses over them ridiculously. ('Oh, the little imps!') My only complaint against Thesiger's performance is that the character he plays in this film is so swishy and effeminate (just as Thesiger was, in real life), I couldn't believe that he had any sexual interest in women ... even as murder victims.'They Drive by Night' was directed by Arthur Woods, whose extremely promising career ended far too soon. (He was killed in action during the war.) I've no doubt that, if Woods had made films for only ten years more, he would be recognised as indisputably one of the very greatest film directors. I rate this fast-paced noir thriller 10 points out of 10 ... but it really ought to be rated an eleven!