I was initially attracted to this neglected Universal programmer from May 1932 because it co-starred Boris Karloff and Mae Clarke in the immediate wake of James Whale's December 1931 offering FRANKENSTEIN. I was amused to discover that it includes a comic passing reference to that major hit, showing Universal and its players to be in a playful, celebratory mood. Barely an hour long, NIGHT WORLD is set almost entirely inside Happy’s Club, a Prohibition era nightclub owned by the genial Happy MacDonald (Karloff), who has little reason to be happy, as his wife (Dorothy Revier, pictured) is unfaithful and messengers from the Mob are preparing to rub him out.
As the story advances in brief increments while accommodating various bit parts, there are periodic song and/or dance numbers choreographed by none other than Busby Berkeley, who incorporates some charming early variations on the through-the-leg-arches and overhead-kaleidoscope shots he perfected during his later stints at Warner Bros. and Metro-Goldwyn-Mayer. Top billing goes to Lew Ayres (ALL QUIET ON THE WESTERN FRONT) as a young man bingeing on drink in the wake of his father's recent passing, who is taken under the wing of a chorus line dancer with a heart of gold (Clarke), who sobers him up in time to vent some long pent-up spleen at his absentee mother (Hedda Hopper). As Happy MacDonald, Karloff (wearing a tux and a lot of eye makeup) is required to speak in American tough guy vernacular and gets to twice demonstrate his devastating right clip against his wife's lover (Russell Hopton). Clearly, he was cast to reveal to audiences the actor behind the Frankenstein Monster makeup and to demonstrate some of his versatility and personal charm; he's miscast but handles the role quite ably. There are also splendid supporting performances by Dorothy Peterson (as a well-meaning advisor, drunkenly turned away by Ayres) and most particularly Clarence Muse as the doorman, tensely awaiting news from the hospital concerning his wife. George Raft and Bert Roach (the comedy relief in Universal’s MURDERS IN THE RUE MORGUE, released the previous February) are also prominent in the supporting cast. It was photographed by Merritt Gerstad (THE UNKNOWN, LONDON AFTER MIDNIGHT) and in charge of the toe-tapping Jazz Age music was Alfred Newman - only his fifth credited composing job, according to the IMDb.
Directing this production was the now-forgotten Hobart Henley, a former actor whom the IMDb credits with 56 other directorial assignments dating back to 1914. Though this was to be his next-to-final feature (succeeded only by Majestic's 1934 release UNKNOWN BLONDE), he lived until May 1964, when he died at age 76.
Overall, this film turned out to be a good deal more engaging than I anticipated, thanks in large part to Henley's adept juggling of the bit players and their various bits of business, and also to the refreshing, surprisingly modern quality that Ayers and Clarke bring to their performances. I was particularly impressed with Clarke, who is miles away here from her dreary Elizabeth Frankenstein - a major performance in a minor film. Incidentally, my friend Joe Busam tells me that the double breasted black jackets worn by the chorus line were previously worn in the "Happy Feet" number of KING OF JAZZ (1930).
Usually tagged by the few who remember it as a precursor of sorts to GRAND HOTEL (released by MGM the following September), I'm more tempted to see NIGHT WORLD as a the model for Roger Corman’s ROCK ALL NIGHT (1956), likewise set entirely inside a nightclub with a compact set of characters poised at turning points in their lives.
Next time you're looking to kill an hour, remember NIGHT WORLD. It's well worth your time. Use this link or tap it right here:
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