This little gem was broadcast as part of Talking Pictures TV ‘Late Night Friday’ schedule in the UK. Generally described as a ‘crime noir’, it’s perhaps better classified as an example of the semi-documentary police procedural cycle of films started by Jules Dassin’s The Naked City in 1948 and eventually becoming a staple of US TV as well as developing a UK equivalent. But He Walked by Night also has its own important features, primarily the camerawork of John Alton. Alton literally ‘wrote the book’ on noir night-time location shooting, characterised by intense shadows. Painting With Light was published in 1949.
There are several other stories about its production that are worth mentioning. It was independently produced by Brian Foy, a veteran of studio ‘B pictures’, and distributed by Eagle-Lion, the company set up as part of J. Arthur Rank’s attempt to distribute his British films in the US (which meant Rank distributed this US indy in the UK). Foy gathered together some of the highly experienced filmmakers he knew from his studio operations including the writers John C. Higgins and Crane Wilbur and director Alfred L. Werker. However, there is a strong suggestion that at least some of the directing duties were by an uncredited Anthony Mann. Mann directed T-Men in 1947 for Brian Foy Productions with Higgins as one of the writers and John Alton behind the camera. A similar kind of film with ‘Treasury Men’ working undercover to root out fraud, T-Men is another form of ‘procedural’, also released by Eagle-Lion. Finally in terms of production stories it’s worth noting that Jack Webb, who has a small role in He Walked by Night as a backroom technician, would soon go on to produce and star in a radio series developing the police procedural idea and titled Dragnet (1949-57) and in turn this would become one of the most iconic US TV shows of the 1950s (1951-59 plus later series). There were also a couple of feature films and all this can be traced back to Webb’s experience on He Walked By Night.
The police procedural idea was to take the idea for a film on a real case and to film on location in Los Angeles. Roy Martin/Morgan (Richard Basehart) is a burglar specialising in the then new electronics goods market(radios, TVs and tape recorders etc.) He has also acquired an arsenal of weapons and one night when he is disturbed by a police patrol car he ends up shooting a police officer. This sets off the procedural narrative which ends in a chase through the Los Angeles storm drain system, something used since as either an LA-set device or using sewers and underground tunnels in other locations – but this may be the first use and it benefits greatly from Alton’s camerawork. I enjoyed the film very much though I was struck by the moment when the officers in a patrol car hear over the radio that one of their colleagues has been shot. They are suddenly electrified and burst into action. I hope they would react similarly if any member of the public is shot. This shot reminds us that the film (and many similar procedurals that followed) relied on the co-operation of police forces which perhaps led to a selection of stories and an influence on how these were presented.
I believe that this film is now in the public domain in the US so it is widely available online but to really appreciate its visual qualities, you should seek out the best quality print (see DVD Beaver for disc options or check the streamers). Richard Basehart is excellent as the dangerous man on the run and Scott Brady and Roy Roberts give solid performances as the the two police figures leading the hunt.