A Night of Adventure (1944)

65 mins | Drama | 1944

Director:

Gordon Douglas

Writer:

Crane Wilbur

Producer:

Herman Schlom

Cinematographer:

Frank Redman

Editor:

Les Millbrook

Production Designers:

Albert S. D'Agostino , Ralph Berger

Production Company:

RKO Radio Pictures, Inc.
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HISTORY

The working title of this film was One Exciting Night. Although a HR production chart places Tessa Brind and Don Douglas in the cast, their appearance in the released film has not been confirmed. This picture marked the screen debut of Audrey Long. The 1934 RKO film Hat, Coat, and Glove, directed by Worthington Miner and starring Ricardo Cortez and Barbara Robbins, was also based on Wilhelm Speyer's play (see AFI Catalog of Feature Films, 1931-40; F3.1793). Todo un caballero, a Spanish-language adaptation of the same play, was produced by Ramex, S.A., RKO's Mexican subsidiary, in 1947 (See Entry). ...

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The working title of this film was One Exciting Night. Although a HR production chart places Tessa Brind and Don Douglas in the cast, their appearance in the released film has not been confirmed. This picture marked the screen debut of Audrey Long. The 1934 RKO film Hat, Coat, and Glove, directed by Worthington Miner and starring Ricardo Cortez and Barbara Robbins, was also based on Wilhelm Speyer's play (see AFI Catalog of Feature Films, 1931-40; F3.1793). Todo un caballero, a Spanish-language adaptation of the same play, was produced by Ramex, S.A., RKO's Mexican subsidiary, in 1947 (See Entry).

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
3 Jun 1944
---
Daily Variety
1 Jun 1944
p. 3
Film Daily
9 Jun 1944
p. 11
Hollywood Reporter
6 Jan 1944
p. 1
Hollywood Reporter
21 Jan 1944
p. 10
Hollywood Reporter
1 Jun 1944
p. 3
Motion Picture Herald Product Digest
3 Jun 1944
p. 1921
Variety
7 Jun 1944
p. 19
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Supv
WRITER
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Albert S. D'Agostino
Art dir
Art dir
FILM EDITOR
SET DECORATORS
Set dec
Set dec
COSTUMES
Gowns
MUSIC
C. Bakaleinikoff
Mus dir
Mus dir
SOUND
MAKEUP
Makeup artist
SOURCES
LITERARY
Based on the play A Hat, a Coat, a Glove by Wilhelm Speyer (New York, 31 Jan 1934).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Title:
One Exciting Night
Premiere Information:
Los Angeles release: 25 Aug 1944
Production Date:
late Jan--early Feb 1944
Copyright Info
Claimant
Date
Copyright Number
RKO Radio Pictures, Inc.
2 June 1944
LP12790
Physical Properties:
Sound
RCA Sound System
Black and White
Duration(in mins):
65
Length(in feet):
5,847
Country:
United States
PCA No:
9952
SYNOPSIS

New York attorney Mark Latham is more devoted to his law practice than to his wife Erica. When Mark arrives two hours late for a dinner date on Erica's birthday, and then leaves her in the care of his chauffeur and private investigator, Steve, while he tracks down Benny Sarto, a witness he needs for a case, Erica decides to leave her husband. After trying to convince Erica to change her mind, Mark flies off to Washington, D. C. to help the government build a case against Gil Regan's crooked political machine. To neutralize Mark, Regan orders Benny to kill the attorney. When Mark returns home, Steve tells his employer that Erica has moved into her own apartment. Mark then visits Erica to plead his case, and while he is there, she receives a phone call from her date, Tony. After Mark returns home rejected and depressed, Steve suggests they go to a nightclub to forget their troubles. There they see Erica with Tony, and Steve discovers that Tony's last name is Clair and that he is an artist. Soon after, Tony and Erica leave the club and go to his studio. As Tony is about to propose to Erica, Julie Arden storms into the studio, jealous and drunk, and accuses Erica of stealing Tony from her. To avoid a scene, Tony takes Erica home, leaving Julie alone in the studio. In a rage, Julie raids the liquor cabinet and finds Tony's gun there. Meanwhile, Mark leaves the nightclub, finds Tony's address in the phone book and proceeds to the studio. He is followed by Benny, who is intent ...

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New York attorney Mark Latham is more devoted to his law practice than to his wife Erica. When Mark arrives two hours late for a dinner date on Erica's birthday, and then leaves her in the care of his chauffeur and private investigator, Steve, while he tracks down Benny Sarto, a witness he needs for a case, Erica decides to leave her husband. After trying to convince Erica to change her mind, Mark flies off to Washington, D. C. to help the government build a case against Gil Regan's crooked political machine. To neutralize Mark, Regan orders Benny to kill the attorney. When Mark returns home, Steve tells his employer that Erica has moved into her own apartment. Mark then visits Erica to plead his case, and while he is there, she receives a phone call from her date, Tony. After Mark returns home rejected and depressed, Steve suggests they go to a nightclub to forget their troubles. There they see Erica with Tony, and Steve discovers that Tony's last name is Clair and that he is an artist. Soon after, Tony and Erica leave the club and go to his studio. As Tony is about to propose to Erica, Julie Arden storms into the studio, jealous and drunk, and accuses Erica of stealing Tony from her. To avoid a scene, Tony takes Erica home, leaving Julie alone in the studio. In a rage, Julie raids the liquor cabinet and finds Tony's gun there. Meanwhile, Mark leaves the nightclub, finds Tony's address in the phone book and proceeds to the studio. He is followed by Benny, who is intent on carrying out Regan's orders. At Tony's apartment, Julie answers the door, gun in hand, and proclaims to Mark that she plans to shoot Tony. When Mark struggles with her for control of the gun, the weapon fires and Julie falls to the floor, dead. Benny listens from the hallway, and when Mark runs out the door and leaves his gloves behind, Benny picks them up and places them next to the weapon. Connie Mathews, a girl delivering Tony's laundry, passes Mark on the dimly lit stairway and mistakes him for Tony. She then proceeds to Tony's room and finds Julie's dead body. When Tony is arrested for Julie's murder, Erica begs Mark to defend him, and he agrees on the condition that she not implicate herself in the case and that she never see Tony again. At the trial, district attorney Branson, Mark's enemy, calls a haberdasher to the stand to testify that the fit of the gloves can identify them as Tony's. To counter the man's testimony, Mark pulls on the gloves and demonstrates that they fit him, too. Next, Ruby La Rue, a dancer whose dressing room faces Tony's studio, testifies that she heard Tony's voice threaten Julie on the evening of the murder. When Mark asks Tony to repeat the threat, however, Ruby recants her testimony, claiming the voice she heard was more educated, like that of Mark. As the trial proceeds, Benny sits in the courtroom, waiting to accuse Mark of murder. When Connie is called to the stand to swear that she passed Tony in the hallway, Mark discredits her by donning Tony's hat and coat to prove that Connie could have easily made a mistake in the dimly lit hallway. The image of Mark in a hat and coat jars Connie's memory, and she identifies Mark as the man she saw in the hallway. At that moment, Benny passes a note to Branson, who then moves to drop all charges against Tony and calls Benny to the stand. When Benny accuses Mark of murdering Julie and testifies that he stood in the hallway as the two argued, Mark charges Benny with perjury and tricks him into providing a set of fingerprints that will match the unidentified prints found in Tony's studio. Faced with the charge of perjury, Benny admits that he invented the story, and the judge drops all charges against Tony. On the drive home, Erica deduces that her husband was the mystery man, and Mark says that he plans to intimidate Benny into testifying against Regan. Appreciating what a clever man she has married, Erica kisses Mark.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.