Although hampered by a corny script, an unpromising opening, some atrociously padded dialogue and the presence of an untalented youngster (Damian O'Flynn), this is one of the most interesting of cult director Boetticher's early films. (The name is pronounced "Betty-cur").
True, the opening sequence in which O'Flynn and McDowall take pratfalls in and out of season, can induce a rush to the nearest exit. But don't follow the mob. Stay with it. The film has nowhere to go but up! And that it does.
Indeed, some fine location photography by William Sickner, plus Boetticher's inspired use of these natural backgrounds lend the movie a sweep and grandeur that is matched by few (if any) other Monogram productions.
Lyn Thomas, Kirby Grant and Gordon Jones rise to the occasion. And even Edward J. Kay's music score is a cut above his usual efforts.
In all, despite its faults, Black Midnight is "must" viewing for connoisseurs.
True, the opening sequence in which O'Flynn and McDowall take pratfalls in and out of season, can induce a rush to the nearest exit. But don't follow the mob. Stay with it. The film has nowhere to go but up! And that it does.
Indeed, some fine location photography by William Sickner, plus Boetticher's inspired use of these natural backgrounds lend the movie a sweep and grandeur that is matched by few (if any) other Monogram productions.
Lyn Thomas, Kirby Grant and Gordon Jones rise to the occasion. And even Edward J. Kay's music score is a cut above his usual efforts.
In all, despite its faults, Black Midnight is "must" viewing for connoisseurs.