Night People (1954)

A film that starts out innocently enough and is shot in Technicolor doesn't hold out much hope of being much of a tough Berlin Cold War drama like Carol Reed and James Mason might have made. Nonetheless, Night People gets pretty engrossing as the story unfolds. What it lacks in shadowy black and white photography and bleak ambiance, it makes up for in a couple of cool plot twists and attention to keeping the story moving. Gregory Peck bites off his lines as if he really means them as the colonel who's trying to get the young corporal who was kidnapped from the US sector after he kisses his German girlfriend good night, to the Russian sector and held for the ransom of an elderly couple, the wife of whom is part of a cool scene in a big beerhall restaurant where Peck is chewing the scenery and German sausages with Broderick Crawford. Crawford's character as a rich Toledo industrialist and well connected father of the kidnapped corporal gets pretty interesting as well as he's bent on throwing as much of his considerable weight around as he can in order to expedite his son's return. But this is international intrigue which requires a lot of preparation while the go-between German ex-mistress of Peck who likes absinthe, gets slowly revealed. Actually, the story is mostly top-notch, though with sergeant Buddy Ebsen's numerous humorous observations and overall casualness, the film is a lot lighter though not necessarily less smarter than some the of black and white classics.

Gregory Peck plays a U.S. Army Provost caught up in exchanging a married couple wanted by Russians for a captured American soldier in "Night People," set in post-war Berlin. By today's standards, this film is on the talky side, with not much action. Although the script was nominated for an Oscar, it's problematic - the denouement was much too simple, for one thing.Broderick Crawford is the father of the captured soldier, and he does an excellent job. Rita Gam is Ricky, Peck's beautiful and feisty secretary. There are several TV faces as well: Buddy Ebsen, Walter Abel, and Max Showalter. Anita Bjork is "Hoffy," a woman who works for Peck yet may be playing both ends.But the film is really Peck's, who does a fantastic job creating an interesting, tough, passionate, decisive, and funny character. He's instantly both likable and admirable.

Nunnally Johnson has been awarded every prize a screenwriter can be given. This film, with its many strengths, demonstrates why as well as does any of his efforts. The storyline here is both complex and adult; it is a Cold War thriller with very-strongly-developed characters, fine performances and great B/W production values throughout. Johnson wrote the script from a story by Jed Harris and directed. The story revolves around a Colonel played strongly by Gregory Peck who is in charge of US forces in Berlin who are dealing daily with the four powers governing their sectors there. Three challenges weigh on him at once. The Russian counterpart he has been trying to help defect is murdered; a young US serviceman is inexplicably kidnapped after meeting the German girl he loves, and demands are made by the Russians to get into their hands two persons in exchange for the soldier. Then the young man's industrialist father arrives to complicate matters further, making demands, while the Colonel discovers a traitor in his own circle of operatives. There are many fine performances in the well-chosen cast, headed by Peck's very strong military character, aided by Walter Abel and Buddy Ebsen; others noteworthy include Peter Van Eyck, Max Showalter, Jill Esmond, Marianne Koch, Anita Bjork and Broderick Crawford. Lovely Rita Gam plays the Colonel's secretary and steals every scene she is in. I found the military-parade pre-opening too-long; but the dialogue, characters and situations were everywhere absorbing and amazing memorable; had Johnson done nothing bu the scripts for this and "The Dirty Dozen", his place in Hollywood history would be secure. I suggest that with all its fine technical and creative aspects, when viewers talk about films "they used to make but can't or don't make any more", "Night People" is exactly the sort of powerful and adult film they have in mind.

It is always difficult to watch a movie that is now 46 years old and assess it as I am continually comparing movies of the 50's to that of the 90's. With special effects, digital sound and plenty of action in movies these days, I have to be careful not to expect the same type of style from 46 yr old movies.Night People was nominated for an academy award for screenplay I believe. The movie is certainly enjoyabe and makes you think but as others have already pointed out there is one serious flaw with the story line that detracts from the overall viewing pleasure (to which I shall explain).The plot centres around a young American GI being kidnapped by the soviets with a view of having him exchanged for to ex Nazi's who double crossed the Germans's during the war and are now hiding in Berlin (the West side). The Russians wish to exchange the American GI (who's father just happens to be a prominent businessman who flies to Berlin to exert his influence). One questions begs answering. Why didn't the Russians just kidnap the two ex Nazi's themselves without any American involvement????And to add insult to injury the actual exchange insults the intelligence of the viewer as the Russians appear total clutses (the hand over the hostage in American territory before they receive their Nazi's (in fact they don't anyway). Sheer stupidity.That aside, what the movie did highlight to me was that Gregory Peck was / is an outstanding actor. He is so far above the other cast members it isn't funny. His portrayal of Col Steve Van Dyke is excellent, being harsh, caring and funny at the appropriate moments. The movie also allowed me to acknowldege Broderick Crawford's acting ability. I gave the movie a 7/10, it is certainly enjoyable enough, but I can't help wonder how the script got an Oscar nomination?