Joseph Losey's The Big Night is a film noir that's also, like Moonrise and Talk About A Stranger, a coming-of-age story. The young male undergoing his transformational journey is John Barrymore, Jr., son of the Great Profile and father of Drew. His film career was not high-profile, as he inherited the family disposition toward chemical dependency (blood will tell). But here, boasting a luxuriantly healthy crown of hair, he gives a surprisingly intense yet controlled performance. His big night happens to be his 16th or 17th birthday, when his barkeep father is brutally beaten and publicly humiliated by a local sportswriter (Losey's staging is unflinching). Frustrations about his own Hamlet-like ditherings and confusions impel him to seek revenge on his father's behalf, and, gun in pocket, he sets out into a nightscape of prize fights, gin mills and the walk-up flats of casually met strangers. While Losey's sympathies lie with Barrymore, it's always clear that the emergent man is still a callow stripling, incapable of apprehending the complex reality he crashes into, like a fatted calf in a china shop. Though the director refrains from pushing the conclusion to where it might logically go -- he retreats into sentimentality and sententiousness -- The Big Night still scores as a provocative, moodily shot film.
Review of The Big Night
