Tomorrow at Seven

Tomorrow at Seven is a captivating pre-Code crime film released in 1933, directed by Ray Enright and featuring the talent of Chester Morris, Vivienne Osborne, and Frank McHugh. This riveting thriller, set in the age of speakeasies, gangsters, and prohibition, takes audiences on a thrilling journey that keeps them on the edge of their seats right until the end.

The film opens with the fearsome Phantom Killer wreaking havoc on Chicago. Known for leaving ominous tarot cards to foreshadow the time of his next murder — always at seven o'clock, the city's police are helpless trying to stop this cunning murderer, causing a wave of terror among the public.

Chester Morris performs the captivating role of wise-cracking writer Neil Broderick with a level of charm and sophistication that only a star of his caliber can muster. Neil is ambitiously investigating the case, hoping to unmask the dreaded Phantom Killer and inspiring the people of Chicago with his courage and determination.

Morris' character finds assistance in unexpected places as well. Vivienne Osborne brilliantly portrays the role of Nora Rafferty, a feisty independent woman who stands by Neil's side, adding a touch of romance and humanity to the otherwise gritty narrative. The classy Osborne breathes life into Nora's character, delivering an enthralling performance that leaves viewers rooting for her.

We find comic relief in the character of writer Thomas 'Dude' Riley, played by the exceptional Frank McHugh. McHugh's performance as the bumbling but well-meaning sidekick provides necessary levity in between moments of high tension, making the film an enjoyable blend of thriller and comedy.

Unlike conventional crime thrillers of its time, Tomorrow at Seven does not simply revolve around the fight against a criminal mastermind. The film sheds light on the dark secrets of the city, the corruption that allows crime to thrive, and the undeniable power of collective resistance. Each frame, filled with handsome suit-clad men and demure 1930s flappers, beautifully reflects the era’s grim atmosphere.

The cinematic direction of Ray Enright, who was known for his impressive body of work in pre-Cold War Hollywood, is at its peak in this film. His penchant for capturing human emotion in the midst of chaos makes every scene memorable, adding layers of depth to the film's narrative. This superb direction, coupled with the brilliant performances of Morris, Osborne, and McHugh, makes Tomorrow at Seven a thrilling cinematic experience.

The narrative in Tomorrow at Seven is full of twists and suspense that keeps you guessing the identity of the killer. Unpacking the clues, second-guessing every character, and racing against time to stop the next murder, all serve to make the film an engrossing watch.

However, beyond its thrilling mystery and the pursuit of a dangerous killer, Tomorrow at Seven is a film about hope, about resistance, and the indomitable human spirit. It demonstrates that even amidst despair and fear, heroes can emerge to take a stand against evil. The grim backdrop of the crime-ridden city serves as a stark contrast to the resilient spirit of our main characters, actively engaging viewers in their journey.

Add to all this the enticing plot twists, the atmospheric 1930s setting, and the looming terror of the Phantom Killer, and Tomorrow at Seven becomes an intriguing cinematic concoction that is both thrilling and thought-provoking.

In summary, Tomorrow at Seven is a showcase of 1930s cinema. It expertly blends suspense, comedy, and social commentary, complemented by stellar performances from its leading actors, Chester Morris, Vivienne Osborne, and Frank McHugh. Whether you're a fan of classic suspense thrillers, or simply love a good whodunit, Tomorrow at Seven promises a riveting cinematic journey through the smoky intrigue of 1930s Chicago, guaranteeing to fascinate and engage viewers from start to finish.