CALIFICACIÓN DE IMDb
6.6/10
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TU CALIFICACIÓN
Unos policías del turno de noche tienen un romance con una joven renuente mientras está en peligro por un mafioso vengativo.Unos policías del turno de noche tienen un romance con una joven renuente mientras está en peligro por un mafioso vengativo.Unos policías del turno de noche tienen un romance con una joven renuente mientras está en peligro por un mafioso vengativo.
John Butler
- Drunk
- (escenas eliminadas)
Dudley Dickerson
- Garbage Man
- (escenas eliminadas)
Cliff Bailey
- Sergeant Bailey
- (sin créditos)
Tony Barr
- Harry Yost
- (sin créditos)
Robert Bice
- Detective
- (sin créditos)
Symona Boniface
- Minor Role
- (sin créditos)
Chet Brandenburg
- Pedestrian
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opinión destacada
Between Midnight and Dawn is directed by Gordon Douglas and adapted to screenplay by Eugene Ling from a story by Gerald Drayson Adams and Leo Katcher. It stars Edmond O'Brien, Mark Stevens, Gale Storm, Donald Buka and Gale Robbins. Music is by George Duning and cinematography by George E. Diskant.
Stevens and O'Brien play two prowl car cops, long time friends who fall for the same woman (Storm), but that could never come between them. That's the job of rising crime boss Ritchie Garris (Buka)...
On the page it looked as if it easily could have got bogged down by romantic threads and buddy buddy cop formula. Thankfully that isn't the case. Finding its way into a number of film noir publications, it's a pic that only just qualifies on account of certain narrative thematics and the night time photography of the always excellent Diskant.
On its own terms anyway it's a damn good policer, one that is handled with knowing direction from Douglas and features the reassuring presences of Stevens and O'Brien, both of whom play cops with different attitudes to the job, but both believable and never played as trite good cop bad cop fodder.
In the lady corner are Storm and Robbins, the former in the middle of our twin testosterone fuelled coppers, and the latter the gangster's moll. Both sultry and beautiful - even if Storm is sporting a hairstyle that equally is both distracting for the character and does her obvious sexiness no favours, but both the gals are written with thought and performed as such.
Then there is Buka as scumbag Garris. This character clearly has ideas above his station, something which our coppers gleefully like to remind him of. But Garris is a nasty piece of work, which ultimately leads us to a thrilling and suspenseful finale. Buka (The Street with No Name) really should have had a bigger noir/crime film career.
Sometimes funny and laced with choice dialogue, this still also manages to impact with dramatic, suspenseful and attention grabbing scenes. This a film that's easy to recommend to lovers of 40s/50s policer movies; it's also pretty bloody for the time. There's a great crew behind this and they don't let anyone down. 7/10
Stevens and O'Brien play two prowl car cops, long time friends who fall for the same woman (Storm), but that could never come between them. That's the job of rising crime boss Ritchie Garris (Buka)...
On the page it looked as if it easily could have got bogged down by romantic threads and buddy buddy cop formula. Thankfully that isn't the case. Finding its way into a number of film noir publications, it's a pic that only just qualifies on account of certain narrative thematics and the night time photography of the always excellent Diskant.
On its own terms anyway it's a damn good policer, one that is handled with knowing direction from Douglas and features the reassuring presences of Stevens and O'Brien, both of whom play cops with different attitudes to the job, but both believable and never played as trite good cop bad cop fodder.
In the lady corner are Storm and Robbins, the former in the middle of our twin testosterone fuelled coppers, and the latter the gangster's moll. Both sultry and beautiful - even if Storm is sporting a hairstyle that equally is both distracting for the character and does her obvious sexiness no favours, but both the gals are written with thought and performed as such.
Then there is Buka as scumbag Garris. This character clearly has ideas above his station, something which our coppers gleefully like to remind him of. But Garris is a nasty piece of work, which ultimately leads us to a thrilling and suspenseful finale. Buka (The Street with No Name) really should have had a bigger noir/crime film career.
Sometimes funny and laced with choice dialogue, this still also manages to impact with dramatic, suspenseful and attention grabbing scenes. This a film that's easy to recommend to lovers of 40s/50s policer movies; it's also pretty bloody for the time. There's a great crew behind this and they don't let anyone down. 7/10
- hitchcockthelegend
- 8 nov 2015
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Argumento
¿Sabías que…?
- TriviaWhile the city is never identified, the police badges and numbered streets are similar to those used or located in New York City. However, the dispatcher says "KMA 367" over the radio. This FCC call sign was and is registered to the Los Angeles Police Department, and is valid through the year 2025.
- ErroresWhen the officers rent the flat, Kate gets up from the couch to answer the door, and she is wearing black heels. When she lays on the couch again, she is wearing lighter-colored flat shoes.
- Citas
Rocky Barnes: Miss Mallory... Do you mind if I call you Kate?
Katharine Mallory: You might as well. I've a feeling you'll get around to it in a minute anyway.
- ConexionesReferences El gato negro (1941)
- Bandas sonorasPLEASE DON'T KISS ME
Written by Allan Roberts and Doris Fisher
Performed by Gale Robbins (shown in part only)
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- How long is Between Midnight and Dawn?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idiomas
- También se conoce como
- Between Midnight and Dawn
- Locaciones de filmación
- Pacific Electric Building, Los Ángeles, California, Estados Unidos(During the police pursuit of Garris after he escapes custody, Garris's car is shown turning into the Main Street trolley car entrance of this building and exiting into the car yard on the other side of the building)
- Productora
- Ver más créditos de la compañía en IMDbPro
- Tiempo de ejecución1 hora 29 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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Principales brechas de datos
By what name was Entre la noche y el alba (1950) officially released in India in English?
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