Two Jacques Tourneur movies came out in 1957, both superb, which is remarkable because he’d had quite an up-and-down career, mostly.
NIGHTFALL, from a David Goodis novel, has some classic noir illogicality, adding to its waking nightmare feel. It also has one of the genuinely sweet heroes, played by raspy-voiced tough guy Aldo Ray — Anne Bancroft also plays a nice person, and the tension between their sweet characters and their respective edges (Ray carries an inherent roughness, Bancroft a brittle and bitter flavour) is magnificent.
Fiona suggested that the above ironic foreshadowing would make a nice tie-in with the snowy footprints (with its case full of money, blackly comic psycho duo, and snowy scenery, the film seems an influence on FARGO) and hence with the earthier prints in Tourneur’s other triumph of ’57.
Unfortunately, the footprints only register in motion — Tourneur’s camera tracks alongside the invisible demon as it advances implacably, leaving smouldering holes in the forest loam, but said holes are too indistinct to get a good image of. I settle for this ~
I’m tempted to make a fan edit of NIGHT OF THE DEMON with the big demon removed, but of course I have no specific instructions from the director about how to do this. Tourneur said that the black panther that attacks Dana Andrews should have been edited down to flashes — in the finished film, you can clearly see the thing is a product of taxidermy rather than diabolism — and the demon likewise. Effecting such changes would wreak havoc on Muir Matheson’s scarifying score, and would amount to a fair bit of work which I’m not technically qualified to do. But it could be GREAT —
At present, Andrews’ skeptical scientist is a slightly annoying clod, which is often the case with skeptics in films of fantasy (in THEM!, the use of an irritating skeptic was a cunning choice to deliberately make the audience WANT to see this pompous ass proved wrong). This would be less true if it weren’t for the demon showing up, larger than life and grinning like a muppet, in the opening sequence — we know Andrews is wrong from the start. We NEED a little doubt to make the story play properly. The fact that in spite of the producer’s ham-fisted interference, the film is a classic, is testimony to the skills of Tourneur and his team.
When I spoke to star Peggy Cummins last week, she said “It’s an absolute icon, isn’t it? In England and America. I don’t know how it’s regarded in your country, Scotland…” I assured her that it was a Halloween favourite. Seek it out this season!
I’ve been making a video essay about Tourneur. More on this soon.