“All Night Long” has been released on Region 2/PAL DVD & Blu-ray by Network (UK). It was also released on Region 1 DVD as part of Criterion’s “Basil Dearden’s London Underground” DVD set (2010). Turner Classic Movies occasionally plays the film as well.
Rod inspects the special banner commemorating Rex and Delia's first anniversary
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| Delia and Rex, the happy couple, arrive at the surprise party |
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| Johnny tries to get Delia to join his new band... and gets turned down flatly |
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| Part of Johnny's plan, get Cass to fall off the weed-wagon and sow the seeds of hate |
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| Stoned & drunk Cass rips into agent Lou Berger, the very man who Johnny is trying to get to promote his new band |
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| A stern talking-to from Rex... |
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| Johnny takes his turn at the drums, eyes scanning the room, mind scheming even as he plays... |
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| Delia sings her first tune for Rex, the guests, and fellow musicians |
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| Johnny works on his "damning evidence" against Cass & Delia |
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| Preparing to play the tape to Rex, Delia's gold cigarette case in his pocket... |
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| Rex reacts to the fake tape... he has Cass and Delia in his cross-hairs now... |
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| Rex tries to strangle his wife as Cass and Rod try to get through the locked door |
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| Emily tells the crowd that Johnny is, and always has been, "a terrible, terrible liar" who never told the truth in his life |
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| Benny tells Cass to tell Rex it was she he was speaking to when the tape machine was recording |
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| Johnny starts to realize the jig is up... |
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| "You fixed the tape... why did you do that?" |
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| Johnny saved from becoming a puddle of tuxedo by Delia, who snaps Rex back into reality |
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| Delia runs to Rex outside... |
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| Emily ready to leave with her husband, but Johnny tells her to "walk out on me, like all the others did..." |
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| Johnny reacts to Emily telling him she loves him... |
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... but he then looses his temper, ranting about love... he doesn't want to be loved... he loves no one, "I don't even love Johnny".
He tells his wife to go find someone else to love as he starts manically drumming... she leaves... |
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| Rod heads downstairs as Johnny beats his drums... and walks right by him toward the exit... |
Rex and Delia, still together...
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The Actors
Patrick McGoohan
Johnny Cousin
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Marti Stevens
Delia Lane
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Paul Harris
Aurelius Rex
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Keith Michell
Cass Michaels
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Richard Attenborough
Rod Hamilton
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Betsy Blair
Emily (Cousin)
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Bernard Braden
Lou Berger
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María Velasco
Benny
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This film is loosely based on Shakespeare’s Othello. And I readily admit I know next to nothing about Shakespeare (other than do NOT mention Macbeth by name to an actor!). I had to (try to) read some of his works in school, but I never could understand any of it, thanks to ye ole English. Period reviews of the film explained that Othello is Rex, Desdemona is Delia, Iago is Johnny, and Cassio is Cass. Additionally, one reviewer felt Roderigo was Rod, Emilia was Emily.
Those same period reviews also mention somewhat “square” moments when the actors use jazzy, “hip” talk. Thankfully, there’s actually very little of that. Most of the “hipness” is in the scenes where Johnny and Cass are smoking marijuana. There’s also very little, if any, reference to the fact that Rex and Delia are an interracial couple. I personally like that, as I can’t stand preachy films unless they fairly show both sides of an issue. But for 1962, it must have raised a few eyebrows. Being based on Othello probably helped, unless the viewer was like me and had no idea what Othello was all about, so couldn’t make the connection! Not mentioned in period reviews is the fact that Cass’ relationship with girlfriend Benny is also interracial, as the actress María Velasco was Mexican.
Of note, this good looking, well edited film actually falls flat on its face during the above-mentioned pot smoking scenes. There are some abrupt edits, which make me wonder if censors were at work, the scene wasn’t believable enough, or perhaps even the actors weren’t comfortable with the scene. McGoohan was often called a prude for his Catholic morals, but he also drank and smoked a lot. If he ever went on record about the use of drugs, I’d like to know his feelings on the subject (or WOULD I??). Regardless, those bits are the only real technically-bad things I can think of.
Well, there is one other: The actors’ pretending to make music. With so many real jazz musicians on screen, I was worried how the actors would look trying to play instruments. Harris isn’t very believable at all on the piano. Michell is a bit better with his sax. Stevens’ mouthing of her two songs is ok at times, too dramatic at others, too emotionless elsewhere. Not being familiar with her, I looked her up and she did indeed sing during her career, though I haven’t confirmed who did the singing on the film’s soundtrack.
But, mercifully, McGoohan did a lot of preparation for his drumming scenes with real drummer Allan Ganley, whom you hear on the soundtrack. As a result, other than a few seconds here and there where the soundtrack is slightly out of sync with the film, McGoohan's drumming looks very credible. Considering his top-billing and abundance of on-screen time, it is a testament to his desire for perfection that McGoohan spent so much extra effort (reportedly on his own time at home) just to make sure his drumming would look credible. He even scored a photo on the cover of the film’s soundtrack album, and reportedly kept “Johnny Cousin’s” drum kit.
As far as the cast goes, first and foremost, I’m not used to seeing so little of Richard Attenborough in a film! Especially having seen The Great Escape a gazillion times! But he plays the part of the fair, amiable playboy well, and he looks nice in his tux, though he switches into a “square” sweater almost immediately! He drives a yummy Bentley convertible (top up, in the London rain).
Marti Stevens reminded me a little of Marlene Dietrich (oddly enough, while reading a little about her, I found out the two women were indeed friends!). Her overall performance is good, and she looks the part, though “torch singers” were often a bit rougher around the edges.
I felt Keith Michell was alternately slightly too wooden and slightly too “method” as Cass, though he never goes too far overboard into the realm of overacting. All in all, he’s OK as the pawn in Johnny’s game. (And María Velasco plays Cass’ girlfriend perfectly.)
Paul Harris as Rex seemed better in the first half of the film than in the second. He fits as a happily married jazz pianist celebrating his first wedding anniversary. But once the doubt, brooding, and anger begin, his performance tends to also get rather wooden. Harris seems to have gone the “understated route”. That, no doubt, suits many tastes. Perhaps I am being too harsh. But he just isn’t facially expressive enough to convey what he is thinking. That is, until the very end, when it becomes very obvious indeed.
Betsy Blair plays Johnny’s wife just right. She is slightly ditzy and rather innocent, perhaps in denial as well. She loves her husband even though her marriage to Johnny when they were young was not the happy event it should have been. And he doesn't seem to treat her very well at times. But she proves to be loyal to him, right up to the end.
Last, but far from least, is Patrick McGoohan’s performance as Johnny Cousins.
One peek at this blog and it becomes blatantly obvious I am a fan of his, and this film seems to be a favorite of other fans as well (female ones, anyway). Filmed between the original half-hour Danger Man series and the later hour-long revival, he is handsome and classy in his tuxedo, smoking too much as usual, effortlessly gliding around the set as his character sets his plan in motion.
This film also adds some credence to my theory that make-up folks sometimes darkened McGoohan's eyebrows for certain productions. As can be seen here, they were very light indeed.
I’ve already covered here my relief that McGoohan's drumming looks credible, and his American accent is for the most part more believable here than in the first Danger Man series (perhaps the lack of slight Irish-tinge makes the difference). As for the scenes where he is smoking marijuana, being a teetotaler I can’t really judge his performance (I didn’t know pot came in dark, neatly rolled cigarettes, and I always thought the smoke was supposed to stay inhaled longer).
And in some early scenes, it seems as though McGoohan is perhaps over doing things a bit. That is, until the plot unfolds, and the audience starts to realize just what Johnny Cousin is up to.
Unlike Paul Harris, McGoohan is easily able to express thoughts and emotions with subtle changes to his face. He goes from scheming-happiness to stressed-apprehension to glee in the blink of an eye
(1:16:59-20). He stands in the background watching his surroundings (27:54), and we know he has just thought up a new angle for his plan without him saying a word. We know exactly how he feels throughout the film, even though he never says a single word to anyone.
And despite being a conniving, underhanded louse, it is rather difficult to hate his character. Is it because of his intelligence? His smile? His upbeat manner? His good-natured, helpful ways? Or do we feel sorry for him thanks to that ever present, slightly insane look in his eyes? Only a few times do we see actual malice in those eyes. The other characters don’t see it, just the audience.
Even Johnny’s reaction to being unmasked as the man who caused all of the suffering of the evening is understated. After his initial “what, who, me??” reaction, he just stands there, ever so slightly changing his expression as the noose tightens. He says nothing, not even when Rex has him by the throat, ready to turn him into a bloody puddle of tuxedo. It’s all in his face and body language.
Only in the last scene does the audience get any actual first-hand insight into Johnny’s mind. He has gone from the happy-go-lucky drummer in his very first scene, to a miserable, disheveled, lonely man, seemingly unable to love and be loved. In fact, one almost wonders if all his scheming actually had nothing to do with getting his own band started at all, but to get back at everyone around him who had someone to love.
If this is the case, what about his wife Emily, who seems to really love him, warts and all? Was the fact she never got their marriage annulled a thorn in his side? Did Johnny really mean it when he told Delia it wasn't about having his own band, but because he needed her? Take a look at the 16:21 mark of the film. Is he being genuine? Or is that band with his name on it his one and only priority? He had, after all, already spent a whole year and lots of cash putting it together. Johnny was turned down in one way or another by (in order) Berger, Delia, Rod, even Cass, who simply lets it be known nothing could ever break up Rex and Delia's marriage. By the time the night is over, Berger is publicly insulted by Cass, Delia almost looses her husband (and life), Rod's party is ruined, and Cass is thrown from a second floor staircase. Payback, perhaps?
No doubt, this is where the whole Shakespeare thing kicks in… I should have tried to pay more attention in English class!
The ending is also the point when we, the audience, may indeed finally hate Johnny Cousin, if just for the way he treats his wife. And yet, in a way, we can still sort of feel sorry for him as he manically beats his drums, alone and in the dark.
And so I give this film a “yup, go watch it” rating. It may take a few viewings to catch all of the little intricacies, twists & turns. I caught a lot of things while working on the screen-shots. The movie looks good (some interesting camera moves here and there help) and sounds good as well.
Oh, that reminds me… you better like jazz if you watch this one…
"Be seeing you!"
McGoohan fans will no doubt chuckle at 1:17:54...
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The Musicians
Dave Brubeck
Piano
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 Charles Mingus
Bass
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 John Dankworth
Alto Sax
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 Allan Ganley
Drums
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Bert Courtley
Trumpet
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 Tubby Hayes
Tenor Sax & Vibes
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 Ray Dempsey
Guitar
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 Colin Purbrook
Piano
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Keith Christie
Trombone
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 Harry Beckett
Trumpet
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 John Scott
Alto Sax & Flute
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Did I goof with an I.D.?
Let me know!!!
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There are a LOT of jazz musicians in this film. The list above is incomplete, and I hope I got the names matched up properly to the faces (let me know if I didn’t!). I think it's darn nifty the musicians got their names in the beginning credits right along with the actors.
DANGER: Personal opinions ahead!
Jazz is a type of music with something for many, varying tastes. There are only so many styles of rock, fewer styles of country-western, and even fewer of the blues. But with jazz, you have Fusion, West Coast, East Coast, Dixieland, Acid, Contemporary, Ragtime, Be-Bop, etc. It can all get very personal. And snobbish.
While not an actual aficionado, I have liked jazz since I was a kid. I grew up with my brother playing guitar to jazz records. Wes Montgomery, Barney Kessel, Kenny Burrell, they all wafted down from his attic bedroom. Later on I discovered Vince Guaraldi, The Modern Jazz Quartet (with Milt Jackson on vibes), and Oscar Peterson. Some purists probably will scoff, but 1940s swing and even some Dixieland is just plain good stuff.
But one thing that has been constant is my dislike of horns in jazz. I know there are players from the past I would like, I just haven’t made the effort to look into their albums yet. But as far as guys like Miles Davis and Charlie Parker… no thank you.
All Night Long, though, is full of “brass”. And I like about 95% of it, which proves my theory there ARE jazz horn players I would like.
I had only heard of two of the musicians in the film, Dave Brubeck (piano) and Charles Mingus (bass). Though I have never really listened to their music (I know I like Brubeck’s song Take Five). I believe a majority of the rest of the guys are British. And they swap places throughout the movie, with different men playing drums, piano, bass… even bongos! Tubby Hayes even goes from vibes to sax.
As stated earlier, drummer Allan Ganley had the task of helping Patrick McGoohan learn drums well enough to look convincing on screen.
Check out the scene at
9:17, where Johnny Cousin arrives with his own set of drums (with "his name on it").
That is Ganley staring at him as he talks to the band.
This little bit seems to be tongue-in-cheek.
Johnny the master drummer takes charge and tells this other interloper what to do, when in reality it is an actor pretending to tell his drum teacher what to do!
Another aspect of jazz I have never liked is singers, especially female ones (personal preference rears its ugly head here again). To me, jazz is purely musical. No lyrics required (except maybe with Big Band swing) . This might be why I do indeed like Ella Fitzgerald. She tended to sing like a musician. So did Mel Torme. But so many women seem to try too hard to sound “jazzy” or "torchy", and it just turns me off.
Because of this, I am going to refrain from commenting on the two songs sung in the film (first one is better). (Oh, wait... that is a comment... ooooops)
For those interested in the film’s soundtrack, an LP was issued in 1962 on the Fontana label. It was reissued on vinyl by Not NowMusic.
6/3/2020 - Jonelle DeFelice
This film doesn’t really require a synopsis, since the story of the actual “escape from Alcatraz” prison is well known, though the actual facts pertaining to the fate of the three escapees will probably never be known.
If you do NOT know the story behind the escape, basically all you need to know is three inmates chipped away at the old, crumbling cement around the air vents in their cells and got into the maintenance areas above the cell block. They then made papier-mâché heads, complete with hair from the barber shop, to put in their beds at night, when they were outside their cells working on supplies like rubber rafts and life rackets made from rain coats stolen from the prison. The big night came and the three men left their cells through the cell vents, went up air vents to the roof of the cell block, then down to the rocky shore and into San Francisco Bay. They were never seen again, dead or alive, (officially, anyway) and the prison was closed within the year. 
McGoohan did long, word-heavy scenes well (like when he meets Morris in his office) but also scenes which require little dialogue at all (like the ending). Though the warden shows very little emotion on his face, a tiny change of the eyes can tell a lot. 
