While the City Sleeps


1h 39m 1956
While the City Sleeps

Brief Synopsis

Reporters compete to catch a serial killer.

Film Details

Also Known As
News Is Made at Night
Genre
Drama
Crime
Mystery
Film Noir
Release Date
May 30, 1956
Premiere Information
New York opening: 16 May 1956
Production Company
Bert Friedlob Productions, Inc.
Distribution Company
RKO Radio Pictures, Inc.
Country
United States
Screenplay Information
Based on the novel The Bloody Spur by Charles Einstein (New York, 1953).

Technical Specs

Duration
1h 39m
Sound
Mono (Western Electric Sound System)
Color
Black and White
Theatrical Aspect Ratio
1.66 : 1
Film Length
8,966ft

Synopsis

In New York City, while drugstore employee Robert Manners is delivering a package to Judith Fenton's apartment, he surreptitiously unlocks her door, then hides outside. After the building janitor, George Pilski, visits Judith, Robert re-enters and strangles the young woman, leaving the message "Ask Mother" scrawled in lipstick on the wall. When ailing media mogul Amos Kyne receives word about the murder, he calls to his sickbed his three key staff members, New York Sentinel editor John Day Griffith, newspaper photographer Harry Kritzer and Kyne wire services head Mark Loving. Amos also summons his favorite employee, former Pulitzer Prize-winning reporter and novelist Ed Mobley, who now headlines a television program on Amos' local station. After chastising the men for failing to pick up on the story earlier, Amos instructs them to label the murderer "The Lipstick Killer" and make the case front-page news. After the editors leave, Amos confides to Ed that he has made two big mistakes in his life: spoiling his only son, Walter, and not convincing Ed to take over his business. When Ed demurs that he does not want power, Amos reminds him that spearheading media outlets allows free speech to flourish and aids democracy. Suddenly, the ill man collapses, and soon after, Ed broadcasts the news of Amos' death. Walter, an immature playboy with no understanding of the media, immediately takes control of the Kyne empire. In his father's office, Walter reveals his plans to force Griffith, Kritzer and Loving to compete for the position of executive editor, the man who will make all the decisions while Walter takes the credit. Each man realizes that scooping the story of The Lipstick Killer will make him a frontrunner for the executive position, and so turns to his office allies to help him in secret. Loving calls in his girl friend, fashion columnist Mildred Donner, who advises him to collaborate with reporter Gerald Meade. Meanwhile, John approaches Ed, his former reporter, in the Blue Dell, the bar downstairs from the office. Ed refuses to take sides, but at home later, his girl friend, Nancy Liggett, who is Loving's secretary, urges him to help John, and he agrees after she promises to marry him. At the same time, Walter invites his old friend, Kritzer, to dinner, unaware that he is secretly having an affair with Walter's wife Dorothy and now hopes she will convince her husband to promote him. Later that night, John learns that an arrest has been made and asks Ed to get the details from his friend, police lieutenant Bert Kaufman. Bert allows Ed to see some of the interrogation of Pilski, whose prints were found in Judith's room, but Ed quickly surmises that Pilksi is innocent. After another murder is reported, and a Strangler comic book left by the killer is discovered at the scene of the crime, Ed and Bert surmise that it must be the same murderer. Together, they devise a plan under which Ed will insult the killer on television in order to incite him into acting rashly. Meanwhile, Meade learns about Pilski's arrest and informs Loving that the janitor is The Lipstick Killer. At the office, when Loving tells John and Walter that he is going to print the story, John points out that they may be committing libel. Walter is publicly embarrassed by his lack of understanding of the term libel, and Loving is forced to kill the story. Moments later, Ed addresses the killer directly on his broadcast, which Robert is watching at home. Ed's description of him as a "mama's boy" infuriates Robert, who lashes out at his mother for treating him like a girl during his childhood. Ed, Bert, John and Nancy meet at the bar, where Ed informs Nancy that they must use her as bait to trap the killer. After she learns that plainclothesman Michael O'Leary will follow her everywhere, Nancy agrees to the plan, and Ed announces their engagement in the newspaper to alert the killer to Nancy's existence. Loving, sensing that he is losing the competition, solicits Mildred to entice Ed to their side. That night, she joins Ed at the Blue Dell and, after encouraging him to drink excessively, invites him home. At the same time, in the apartment that Dorothy keeps for trysts with Kritzer, she informs the photo editor that if she convinces Walter to hire him, Kritzer must from then on answer to her. Robert is sent to Dorothy's to deliver a package, and when he spots her, is enflamed with lust. He does not have time to jimmy the door lock, but upon leaving, spies Nancy's name outside her apartment, which is across the hall. He rings the bell but, getting no answer, races to the Kyne building and spies Ed and Mildred in the Blue Dell. Although Ed's drunken state and loyalty to Nancy kept him from making love to Mildred, the next morning Mildred tells the whole office, including Nancy, about their assignation, and Nancy breaks up with Ed. Upon discovering that he has clinched a lucrative television contract, Loving celebrates his coup and assumes he has won the contest. Later, Ed tricks Nancy into meeting him and Bert at the bar, but she storms out. Although Robert is trailing her, he spots Michael and backs off. At the bar, Ed and Bert deduce that the killer will seek a new stimulus, and realizing that he may strike regardless of Michael's presence, rush to Nancy's. There, Robert has tried to gain entrance, but Nancy, assuming he is Ed, keeps her door locked. Robert instead follows Dorothy into her apartment and chokes her, but her screams alert Nancy, who helps Dorothy into her apartment. When Ed and Bert pull up outside, Nancy points out Robert, whom they pursue into the subway. After a harrowing chase, Ed and Bert capture Robert and arrest him. Ed calls John with the scoop on the arrest, prompting John to send Mildred to go to Nancy's apartment to learn the identity of the latest victim, who is in fact Dorothy using the alias "Mrs. Charles Smith." At the apartment building, Mildred immediately recognizes Dorothy, and together with Kritzer, works out a plan to blackmail Walter, who will want to avoid the humiliation of being publicly cuckolded. At the office, John is celebrating his triumph when Kritzer arrives and demands to talk to Walter. Later that day, Ed and John commiserate in the bar over Kritzer's victory. Nancy, sitting a few seats away, and Walter, who has just joined them, are surprised to hear Ed announce he is quitting, as he can no longer work for a man who puts his own interests above those of the business. When Ed leaves, Nancy follows. Days later in a hotel room in Florida, Nancy reads Ed an article reporting that Walter has fired Kritzer, appointed John executive editor and named Mildred as his "personal assistant." When she continues that Walter has announced Ed's return to the paper, as managing editor, Ed tears up the paper, places his hat over the ringing telephone and kisses his new wife.

Photo Collections

While the City Sleeps - Pressbook
Here is the original campaign book (pressbook) for While the City Sleeps (1956). Pressbooks were sent to exhibitors and theater owners to aid them in publicizing the film's run in their theater.

Film Details

Also Known As
News Is Made at Night
Genre
Drama
Crime
Mystery
Film Noir
Release Date
May 30, 1956
Premiere Information
New York opening: 16 May 1956
Production Company
Bert Friedlob Productions, Inc.
Distribution Company
RKO Radio Pictures, Inc.
Country
United States
Screenplay Information
Based on the novel The Bloody Spur by Charles Einstein (New York, 1953).

Technical Specs

Duration
1h 39m
Sound
Mono (Western Electric Sound System)
Color
Black and White
Theatrical Aspect Ratio
1.66 : 1
Film Length
8,966ft

Articles

While the City Sleeps


Conventional wisdom has it that the greatest stylistic influence on film noir was German Expressionism, with all its dark fatalism, subjective camera angles and movement, and sharp chiaroscuro lighting. So when an early Expressionist master takes on a noir subject, the result is bound to be pretty much definitive. Fritz Lang's career produced many of the best examples of the genre, including The Woman in the Window (1945), Scarlet Street (1945), and The Big Heat (1953). In While the City Sleeps (1956), Lang focuses on the attempts of several newspaper people to rise to prominence by breaking the real story behind a series of brutal murders of women. One of the hallmarks of many noir films is the shadowy moral universe they portray, in which the lines between "good guy" and "bad guy" are blurred. Lang goes full out with that approach in While the City Sleeps, painting the ambitious journalists seeking to crack the case as seedy, manipulative, and corrupt.

Although some attempts are made at a kind of pop-Freudian analysis of the crimes, Lang's interest here is less in exploring the mind of the murderer as he did in M (1931), perhaps the first film about a serial killer. He does, however, take a similar narrative approach as in the earlier movie by revealing the killer at the very top of the story. Some critics at the time carped that this was evidence of a poorly constructed thriller, but Lang isn't going for conventional suspense mechanics. The killer's actions (and the concurrent death of a newspaper tycoon) set off a chain reaction that leads the other characters down paths that reveal their own worst sides, and that's the true focus of the movie. There is even something of a parallel between the killer's choice of victims and the way the ambitious men in the story all use women to achieve their ends. Even the one character who seems to be the most upright, the reporter played by Dana Andrews, uses his fianc¿as bait for the killer.

While the City Sleeps was Lang's last successful U.S. release, following a 20-year career in Hollywood. Before that he was one of the most prominent directors in Germany - Die Nibelungen (1924), Metropolis (1927), The Testament of Dr. Mabuse (1933) - until the rise of Nazism forced him out of his native country. He made only one American film after this, a murder mystery entitled Beyond a Reasonable Doubt (1956, which also starred Dana Andrews as a writer). He then made four films in Europe before retiring from directing in 1960. Lang was always conflicted about working in Hollywood. Compared to the repression of Nazism, it was certainly the lesser of two evils. But he constantly saw his work compromised by the studio system, even those films which were independently produced, such as You Only Live Once (1937).

"I was disgusted," he later said. "I looked back over the past - how many pictures had been mutilated - and since I had no intention of dying of a heart attack, I said, "I think- I'll step out of this rat race."

While the City Sleeps is notable for the number of stars in it, even if most of them were past their prime - Andrews, Ida Lupino, Vincent Price, George Sanders, Rhonda Fleming, Thomas Mitchell, and Howard Duff. Here again, Lang was having to deal with the typical studio constraints, but he made it work for him. Every part was a good one but, with the possible exception of Andrews, did not require a huge amount of screen time. With careful scripting in collaboration with screenwriter Casey Robinson and good planning, Lang was able to keep each actor's production time down to four or five days, making it financially possible to have so many names in the cast. But although it was successful in this case, the casting proved Lang's anti-Hollywood point even further.

"A distributor, you see, likes to have a kind of security that the money will come back, and he believes a star is security," he explained. "I can tell you fifty pictures with big stars that were big flops, but who can argue with motion picture people? They never learn."

Director: Fritz Lang
Producer: Bert Friedlob
Screenplay: Casey Robinson, from the novel The Bloody Spur by Charles Einstein
Cinematography: Ernest Laszlo
Editing: Gene Fowler, Jr.
Art Direction: Carroll Clark
Cast: Dana Andrews (Edward Mobley), Rhonda Fleming (Dorothy Kyne), George Sanders (Mark Loving), Howard Duff (Burt Kaufmann), Ida Lupino (Mildred Donner), Thomas Mitchell (Jon Day Griffith), Vincent Price (Walter Kyne), Sally Forrest (Nancy Liggett), John Drew Barrymore (Robert Manners).
BW-100m. Closed captioning.

by Rob Nixon
While The City Sleeps

While the City Sleeps

Conventional wisdom has it that the greatest stylistic influence on film noir was German Expressionism, with all its dark fatalism, subjective camera angles and movement, and sharp chiaroscuro lighting. So when an early Expressionist master takes on a noir subject, the result is bound to be pretty much definitive. Fritz Lang's career produced many of the best examples of the genre, including The Woman in the Window (1945), Scarlet Street (1945), and The Big Heat (1953). In While the City Sleeps (1956), Lang focuses on the attempts of several newspaper people to rise to prominence by breaking the real story behind a series of brutal murders of women. One of the hallmarks of many noir films is the shadowy moral universe they portray, in which the lines between "good guy" and "bad guy" are blurred. Lang goes full out with that approach in While the City Sleeps, painting the ambitious journalists seeking to crack the case as seedy, manipulative, and corrupt. Although some attempts are made at a kind of pop-Freudian analysis of the crimes, Lang's interest here is less in exploring the mind of the murderer as he did in M (1931), perhaps the first film about a serial killer. He does, however, take a similar narrative approach as in the earlier movie by revealing the killer at the very top of the story. Some critics at the time carped that this was evidence of a poorly constructed thriller, but Lang isn't going for conventional suspense mechanics. The killer's actions (and the concurrent death of a newspaper tycoon) set off a chain reaction that leads the other characters down paths that reveal their own worst sides, and that's the true focus of the movie. There is even something of a parallel between the killer's choice of victims and the way the ambitious men in the story all use women to achieve their ends. Even the one character who seems to be the most upright, the reporter played by Dana Andrews, uses his fianc¿as bait for the killer. While the City Sleeps was Lang's last successful U.S. release, following a 20-year career in Hollywood. Before that he was one of the most prominent directors in Germany - Die Nibelungen (1924), Metropolis (1927), The Testament of Dr. Mabuse (1933) - until the rise of Nazism forced him out of his native country. He made only one American film after this, a murder mystery entitled Beyond a Reasonable Doubt (1956, which also starred Dana Andrews as a writer). He then made four films in Europe before retiring from directing in 1960. Lang was always conflicted about working in Hollywood. Compared to the repression of Nazism, it was certainly the lesser of two evils. But he constantly saw his work compromised by the studio system, even those films which were independently produced, such as You Only Live Once (1937). "I was disgusted," he later said. "I looked back over the past - how many pictures had been mutilated - and since I had no intention of dying of a heart attack, I said, "I think- I'll step out of this rat race." While the City Sleeps is notable for the number of stars in it, even if most of them were past their prime - Andrews, Ida Lupino, Vincent Price, George Sanders, Rhonda Fleming, Thomas Mitchell, and Howard Duff. Here again, Lang was having to deal with the typical studio constraints, but he made it work for him. Every part was a good one but, with the possible exception of Andrews, did not require a huge amount of screen time. With careful scripting in collaboration with screenwriter Casey Robinson and good planning, Lang was able to keep each actor's production time down to four or five days, making it financially possible to have so many names in the cast. But although it was successful in this case, the casting proved Lang's anti-Hollywood point even further. "A distributor, you see, likes to have a kind of security that the money will come back, and he believes a star is security," he explained. "I can tell you fifty pictures with big stars that were big flops, but who can argue with motion picture people? They never learn." Director: Fritz Lang Producer: Bert Friedlob Screenplay: Casey Robinson, from the novel The Bloody Spur by Charles Einstein Cinematography: Ernest Laszlo Editing: Gene Fowler, Jr. Art Direction: Carroll Clark Cast: Dana Andrews (Edward Mobley), Rhonda Fleming (Dorothy Kyne), George Sanders (Mark Loving), Howard Duff (Burt Kaufmann), Ida Lupino (Mildred Donner), Thomas Mitchell (Jon Day Griffith), Vincent Price (Walter Kyne), Sally Forrest (Nancy Liggett), John Drew Barrymore (Robert Manners). BW-100m. Closed captioning. by Rob Nixon

Quotes

Get your things off. It's your wedding day, you wanna look nice.
- Ed Mobely
What a beautiful nightgown; and it's a shortie!
- Ed Mobely

Trivia

The sequence depicting the New York subway was actually filmed in the Los Angeles subway.

Notes

The working title of this film was News Is Made at Night. On May 19, 1954, Hollywood Reporter reported that producer Bert Friedlob and writer Casey Robinson's "new firm" had purchased the rights to Charles Einstein's novel. According to a November 3, 1955 Hollywood Reporter news item, United Artists was set to distribute the film, but Friedlob and fellow producer Eliot Hyman had sold the finished picture to RKO, thus "affording an immediate release for the film."
       As noted in a June 9, 1955 Variety article, Friedlob announced that the film would address one of the concerns currently publicized by Senator Estes Kefauver, that of the effect of comic books on "juvenile delinquency." Daily Variety reported on June 13, 1955 that Friedlob had invited Kefauver to view the film, suggest dialogue changes and use the production as a "weapon in the growing battle against the corrupting force of comic books on young minds." The publicity sparked a rebuttal from film producer and comic book publisher Tony London, who, in a June 13, 1955 Daily Variety article, censured Freidlob for "picking on an entire industry just because there are a few bad books." Just before the film's release, Dell Pocket Books published a paperback edition of Einstein's novel, changing the title from The Bloody Spur to While the City Sleeps. That edition, as noted in a April 3, 1956 Hollywood Reporter news item, included RKO credit information on the cover.
       A April 12, 1956 Hollywood Reporter article states that Joseph and Irving Tushinsky made a deal with RKO to convert the film to SuperScope for foreign distribution. Although Hollywood Reporter announced in June 1999 that producer Michael Steinberg had signed with RKO subsidiary Radio Pictures to produce and direct a remake of While the City Sleeps, that film was not made. Modern sources add Andrew Lupino to the cast.

Miscellaneous Notes

Released in United States May 16, 1956

Released in United States Spring May 1956

Superscope

Released in United States Spring May 1956

Released in United States May 16, 1956