Somewhere in the Night

Somewhere in the Night is a classic film noir produced by 20th Century Fox, released in 1946. Directed by Joseph L. Mankiewicz, who would later go on to win four Academy Awards during his career, the film features John Hodiak, Nancy Guild, in her debut role, and Lloyd Nolan in leading parts and sets the scene with the moody, high-contrast lighting and morally ambiguous characters typical of the genre.

The narrative centers on a World War II veteran named George Taylor, portrayed by John Hodiak, who suffers from amnesia as a result of injuries sustained during the war. Upon waking up in a Navy hospital in the Pacific, he discovers that he has no memory of his past life, including his own identity. He only has a few clues to who he might be: a letter from a friend named "Larry" and a love letter from a woman referred to as "L." Hoping to reclaim his lost memories and uncover his identity, Taylor embarks on a complex and dangerous journey back to the United States, specifically to the city of Los Angeles, where the postmark on his letters points him.

In the dimly lit and shadowy streets of LA, filled with the requisite smoke and fog, Taylor finds himself swept into a murky world governed by deceit and betrayal. He encounters a cast of characters who either cannot be trusted or are themselves lost and searching, embodying the noir archetype of individuals caught in a web of fate and circumstance. Among these characters is Nancy Guild’s ‘Christy,’ a singer who potentially holds a link to Taylor’s forgotten life. She has a tough exterior but a compassionate heart, typical of the femme fatale or damsel in distress characters often found in noir films.

As Taylor continues to piece together the fragments of his former existence, he’s simultaneously drawn into a plot involving a stolen stash of cash, a murder that happened in his absence, and a psychological complex that questions one's identity and sense of self. He often confronts various situations in which he’s unsure whom to believe or trust, including his interactions with the tough yet charismatic Lt. Donald Kendall, played adeptly by Lloyd Nolan, who is investigating the underlying crime linked to Taylor's past life.

The investigation leads Taylor through a maze of encounters with different individuals with shady motives, including the mysterious 'Larry' and others who knew him by his supposed name, John George. He's sucked into a complex conspiracy where nothing is as it seems, and everyone he meets may have ulterior motives or connections to the dark thrum of the city’s underbelly.

One of the hallmarks of Somewhere in the Night is its use of the amnesia plot device, which effectively adds to the tension and suspense as Taylor’s quest progresses. The condition is compelling as a narrative structure because it places the protagonist and audience on equal footing – both are in the dark and slowly groping toward the light of understanding throughout the film. The protagonist's amnesia is not only a plot device but also serves as a metaphor for the post-war confusion and loss of identity experienced by many returning veterans.

Joseph L. Mankiewicz, who co-wrote the screenplay with Howard Dimsdale (under the front name Michael Wilson, as Dimsdale was blacklisted), proves his mettle in handling the complex plot with a deft touch. The script is known for its sharp dialogue and a complicated plot that reveals itself layer by layer, engaging the audience's intelligence as well as their emotions.

The cinematography of Somewhere in the Night, helmed by Norbert Brodine, is evocative of the film noir style, employing shadows, dramatic lighting, and unconventional camera angles to reinforce the moodiness and mystery of the narrative, as well as the characters' moral ambiguity. These visual techniques are essential to the film's suspenseful atmosphere and contribute to the ongoing tension throughout Taylor's search for the truth.

Though it didn't receive the same level of notice as some other noir films of the time, Somewhere in the Night stands as an intriguing example of the genre. It is a psychological mystery that weaves a tale of intrigue and personal discovery. The performances by both well-established and fresh-faced actors, the rich visual style, and the taut direction all combine to make this film a poignant exploration of identity and redemption amidst the shadowy landscape of post-war America. The film’s resolution ties together its complex threads without revealing too much, leaving the audience to ponder the nature of memory, identity, and whether it’s ever possible to truly know oneself or others.