Midnight Shadow (1939) User Reviews

Weak film but historically interesting

[Red-Barracuda · 3/10 · 19 August 2013]

A mysterious showman/charlatan arrives at a small town and immediately starts courting a girl whose father owns a valuable deed for land in an oil field. The father is murdered in the night by an unknown assassin and two bungling detectives get on the trail of the murderer.

Midnight Shadow is entirely negligible as a mystery film. It's not very involving and it displays the usual deficiencies that these old poverty row films tend to like an abundance of stupid and unnecessary comedy relief. While its resolution was particularly poor and abrupt (it didn't really explain very clearly why the guilty party was actually guilty). The acting is also below par, even for these types of movies, with at least one actor appearing to be reading his lines off cue cards. However, this movie is best appreciated for reasons beyond all of the above. It's interesting as one of the films of the 30's made specifically for the black movie theatres. Hence the all-black cast. It also explains the strange opening text that tells audiences of lands in the American Deep South that are self-governed entirely by and for black people! This of course goes some way to explaining to audiences why everybody is black, including law enforcers, lawyers and detectives. Naturally, this is completely historically inaccurate! But what the hey – it's the movies, right?

Overall, this is not a good film but it's quite interesting historically and it has a very short running time so its deficiencies aren't really that painful to bear.

An inept screenplay with some pathetic comedy and little mystery.

[Art-22 · 3/10 · 6 February 2000]

Whoever wrote this mystery must have shrunk from embarrassment. You will notice there is no screenwriter in the credits, not even an uncredited one. After a reasonable start, including the suspense of having an intruder enter the bedroom of an elderly sleeping couple, the movie goes downhill rapidly. And it has one of the most anticlimactic endings for a mystery I have ever seen. I would like to say you may enjoy the comedy, but I can't. There is a limit of ineptness beyond which a character comes off just stupid rather than funny. Richard Bates plays this kind of a character. He dresses in a Sherlock Holmes hat and pipe and looks for fingerprints with his magnifying glass. Except he looks everywhere except at the crime scene. That's the level of comedy in this movie. His partner, Buck Woods, isn't quite as stupid, but comes close. Their comedy relief was really bad. About the only thing I liked was seeing Ruby Dandridge (the mother of Dorothy Dandridge) in her first film. There was no musical entertainment in the film, quite unusual for a "race" film made for black audiences, since that was often a staple of such films.

The acting is so bad...you have to see it to believe it.

[planktonrules · 2/10 · 2 February 2019]

Back in the 1920s to the mid-1950s, many movie theaters in America were segregated or were white only. Because of this, a black film industry sprang up--black theaters as well as movies featuring all-black casts for these theaters. Not surprisingly, these all-black productions were extremely low-budget...and were almost always inferior to the Hollywood movies. But, they can be, on occasion, quite interesting and worth your time. Is "Midnight Shadow" one of these productions worth your time?

The story begins with a phony prince meeting with a girl's parents. Her father is a bit dim and begins talking about all the money his daughter will receive when she gets married...and it's obvious that the crook is only interested in her for the money. Will Margaret find out the truth before it's too late or is this jerk destined to run away with her riches? And, exactly HOW does this man plan on bilking her anyway?

The acting is, frankly, pretty terrible. The parents can barely deliver their lines...but it's also true of the main characters as well...with the faux prince and his girlfriend acting as if they'd never even seen a movie nor knew anything about acting in one....and they are incredibly low energy and flat. Some black actors of the day, such as Spencer Williams and Mantan Moreland could really act...but not the folks in this film.

Overall, a pretty typical low-budgeted film that is about as bad as its current 3.2 on IMDB would indicate. Amateurish and only a curiosity and not much else.

Not as bad as made out!!!

[kidboots · 5/10 · 24 May 2010]

This isn't as bad a film as some of the reviewers imply. "Race" movie productions had budgets that made Monogram look like MGM. Considering many of the players weren't professional actors - half the cast of "Midnight Shadow" only appeared in one or two movies at the most and those that did appear in more main stream movies, were mostly in uncredited, demeaning roles. Many of the cast seemed to handle their roles in a natural manner (ie Ollie Ann Robinson and Jess Lee Brooks) although a couple looked like a deer caught in the headlights (Frances Redd, who was a model and not an actress anyway.) There was no need for a musical interlude in this film as it was just a regular "who done it" and moved along briskly. These films were made for black audiences and tried to depict stories about everyday situations (not always about witch doctors and voodoo etc).

When a well respected business man turns up dead, suspicion falls on his daughter's two suitors. They happen to be in the house when Margaret's father brings out his oil well deeds and both act suspiciously. The first suitor calls himself "The Great Prince Alihabad" and impresses Margaret's mother (Ollie Ann Robinson) as being shifty. The second is Buster (Edward Brandon) who has a very "hang dog" expression - Margaret (Frances Redd) is very fickle and is giving him the run around. In the synopsis that accompanied this DVD it said "Margaret decides to track down the killer herself with the aid of two bumbling private eyes". That is completely false. Margaret wasn't in it much to begin with and almost disappeared during the last half of the movie. The bumbling private eyes were in it however. Lightfoot and Junior Lingley (who is allowed to help out at his mother's (Ruby Dandridge) insistence). There was a funny exchange between them - "I let you get the dope on this case" "I didn't know it was a dope case" "Not that type of dope"!!! They do crack the case at the end - it is not who anyone would think!!! and they do have some interesting scenes with Sgt. Ramsey (an outstanding Jess Lee Brooks) at the end.

These films were important. At a time when most white audiences thought Stepin Fetchit was a very real portrait of the Afro American character, "race" movies attempted to show black people as they really were.

Daughter Searches for Father's Killer

[Michael_Elliott · 12 October 2015]

Midnight Shadow (1939)

** (out of 4)

Margaret Wilson (Frances Redd) has a couple men wanting her affections but after her father shows off an oil well to them, he's murdered. Now the two men are suspects so the daughter hires a private detective to figure out who the killer is.

MIDNIGHT SHADOW stands out because of its all black cast but sadly outside of this there's really nothing too special here. This film follows the "old dark house" theme that ran thought hundreds of films from this period but the majority of the horror elements are watered down in favor of the detective story, which is obviously watered down even more by the attempt at laughter. As with many films, this one goes for laughs as the detective and his assistant share insults and comic falls but this doesn't really work.

I was surprised to see how good the majority of the lead performances were. This includes Redd who was quite believable in the role of the daughter. There are some weak performances to be found in smaller parts but nothing too damaging to the film. I also thought the actual mystery was well-done and at least keeps you guessing a little. MIDNIGHT SHADOW is a fair thriller that will mainly appeal to those wanting to see an example of an all black cast.

Mostly badly acted mystery...

[dwpollar · 4/10 · 15 September 2001]

1st watched 9/15/2001 - 4 out of 10(Dir-George Randol): Mostly badly acted mystery involving the murder of a man in a black community. Besides the antics of a couple of funny detectives this is otherwise a very uninteresting film. It does have some merit because it was a complete black production from an age where blacks were only given small and very predictable characters in the white-owned film world of the day. This film wouldn't have broken the barrier even if it was made by a big budget film maker because of the very simple story. I am glad that this has been put to video just for a historical reason if for nothing else and to give us a different perspective on this culture in these times.

To catch a killer

[Chase_Witherspoon · 2/10 · 15 May 2012]

Comedy mystery with an all-black cast (not pertaining to rugby), with the daughter of a wealthy landowner (Redd) being wooed by the charismatic but suspicious circus mentalist and apparent sub-continent royal heir (Criner), before her father is murdered and deeds to an oil-rich plot of land stolen during the night. Two bumbling detectives join forces with the police to catch the killer whom they believe will attempt to cash-in the stolen land deed, employing their unique brand of detective skills to solve the mystery and claim the kudos.

Swiftly told tale suffers for its amateurish acting (many times do the cast appear to lose character and look off-stage for direction), but also a curiously erratic narrative that never settles whether it's comedy or mystery. Perhaps it's both, and if so, it's a period piece in which the only recognisable face (to me) was Ruby Daindridge in a minor supporting role playing the mother of a bookish novice detective (Bates) who looks and behaves like the Chris Rock of his era.

Classified as a "race" film, it might be worth seeking if you're a film historian, but there's little else to recommend it to mainstream audiences, with a poorly conceived plot, some truly abominable acting and at times, painfully laboured dialogue.

Historical note

[kevin_s_scrivner · 1/10 · 7 June 2021]

Unfortunately "Midnight Shadow" is dull and unfunny. But the historical situation it depicts is accurate. Between 1869 and 1920 more than 50 all-black communities were established in Oklahoma, a number of which still exist. Residents were free from racial harassment and built successful businesses that enabled them to live comfortable middle class lifestyles. There wasn't a town named Oxley. But John T. Oxley was an influential (white) Oklahoma oilman in the 1930s whose career lasted well into the '70s.

Quite by accident

[bkoganbing · 4/10 · 24 January 2019]

The production values that were available even to studios like PRC on porverty row amusing were sure not available to this film Midnight Shadow. This is the story of a murder committed in an all black community in Oklahoma and its main asset is a pair of bumbling correspondence school detectives who actually solve the case quite by accident.

Buck Woods and Richard Bates play the would be sleuths and I don't mind saying they reminded me a bit of Abbott&Costello in their film Who Done It. Imagine if this studio had the facilities of Universal Studios that A&C enjoyed.

I can't rate Midnight Shadow higher, but it's still worth a look.

No shadow, Sherlock.

[mark.waltz · 2/10 · 20 May 2021]

Yes this is a historical picture, but the results are more hysterical thanks to a ridiculous story concerning a pretty black girl (Frances Redd) who becomes involved with a phony prince (Laurence Criner) after her family's money even though she has a genuinely nice boy (Edward Brandon) whom her controlling mother (Ollie Ann Robinson) actually approves of. In fact, she nags Brandon to stand up for himself and fight for her daughter, treating him as if she thinks of him as a son even though she treats him like he's a child. Redd's father (Clinton Rosemond) naively mentions the inheritance of land he has and this results in him being murdered, with the audience sure who is responsible from the beginning.

There are some interesting elements to the plot and it definitely is a strong story, but it is poorly executed and even weaker as far as the acting is concerned. The stars of the film basically all look like they are reading off of cue cards, obviously being given a script to study their parts and not given time to memorize their lines.

Handsome but not as bright as he thinks he is, amateur detective Buck Woods (as "Lightfoot") is in charge of solving this case, and it might as well be Inspector Clouseau. There are far too many characters, including Richard Bates as a friend of Redd's and Ruby Dandridge (the only familiar name in the cast) as his mother. The sets are pretty realistic but the horrible photography doesn't present them all that well, and the musical score is entirely inappropriate. An opening narration describing the type of black community they live in (basically governing themselves) is interesting, but it's too bad that's the rest of the film isn't as convincing.

I've seen dozens of all black films made in the 1930's and 40's, and while they are not in league with the more expensively made Hollywood films, most are decent as far as characterizations and story are concerned. However, a few are genuine fiasco's, and this one has to be near the top of the list.

The Butler Doesn't Do It

[wes-connors · 1/10 · 1 March 2009]

"Margaret Wilson (Frances Redd) is the daughter of a well-respected small town family, who is courted by local man Buster Barnett (Edward Brandon) and a traveling carnival mentalist, Prince Alihabad (Laurence Criner). When Margaret's father turns up dead after showing his oil well deed to his daughter's suitors, she decides to track down her father's killer herself (by hiring) a private investigator and his bumbling assistant," according to the DVD sleeve's synopsis. "Midnight Shadow" is an embarrassingly poor, segregated production.

* Midnight Shadow (1939) George Randol ~ Frances Redd, Laurence Criner, Edward Brandon

Edward Brandon is the only reason to see this movie!

[msladysoul · 7/10 · 17 April 2004]

The only thing that keeps this movie watchable is the handsome Edward Brandon who played Buster Barnett. Edward Brandon isn't the star of this movie or anything, his scenes are few but steals every scene he's in and basically steals the movie. Edward was a fine actor, he only appeared in one other film "Harlem on the Prairie" and that seems to be lost. I'm surprised nothing came of Edward Brandon, I've seen a lot of Black actors and a lot of "black cast films" but Edward stands out, I haven't seen many have such a strong screen presence and talent. I wish he could of did more films. Edward plays Buster, a soft, push-around kind of man, who's girl is leaving him for manly Prince, Buster spies on them and then becomes a suspect in the murder of his girlfriend's father. The scene that Edward Brandon steals the movie is when the Detective drills him, Buster breaks down and pleads for his life, you've never seen much great acting and emotion in a black cast film, and you never seen men have as much emotion in Hollywood. Edward becomes a stronger man by the end of the film. Edward Brandon to me is a very fine actor, his emotions, gestures, good timing, becoming his character full fledged, knowing the right mood makes him exceptionally the best. He did more in his few scenes than the stars. I'm surprised no one discovered him or made him more of a bigger star. It's obvious he learned acting from somewhere but Black Cinema was so few and between for black actors especially but I am grateful for what he did do. Would love to know more about this actor. If it wasn't for Hollywood's ignorance and the world's, Edward could of been a big success in Hollywood, he could of been up there with one of the greatest actors and one of the most handsome. Why not? But, if your not homely and uncle tomish you can't succeed in Hollywood in those days. I haven't seen an Hollywood film yet that an actor showed such emotion and moved me, and make my jaw-drop like Edward. Did I mention Edward Brandon was handsome and a melting heart smile? Frances Redd is pretty and graceful. Buck Woods and Richard Bates are good as a comedy team. Jess Lee Brooks is great as always as Detective Ramsey. Ollie Ann Robinson and Clinton Rosemond are good as the parents. George Randol wrote and directed this movie, he was a pioneer in Black Cinema involved with some great movies. I admit there should of been some nightclub scene or music, Black Cinema never goes wrong there. It took me a few times to watch this movie, now that I understand it more I like it. Most Black Cinema movies didn't have a lot to work with but they did good with the little they had. This isn't the best but watchable if you want to see unsung talents.

This must have been a B-Movie

[Schlockmeister · 17 January 2003]

Another film from Sack Amusement Company, a distribution company that dealt with the black movie theatre circuit in the 30s and 40s.

A very forgettable mystery that had to have served as a B Movie, supporting a bigger name movie. The acting is generally of the obviously memorized and recited lines variety. By the time the mystery is solved most of the audience won't care, as the mystery has little suspense, the "comedy" falls flat and the ending is so lackluster.

A few notes on this one though. This kind of trivia is what maakes these movies interesting to me beyond the plots. John Criner, the man who played Prince Alihabad had a similar role as a travelling show Doctor in "The Duke Is Tops', he played Doctor Dorando there and it is a better showcase for his talent. Ruby Dandridge, who played Mrs. Lingley, was the mother of Dorothy Dandridge. This movie has the look of a mystery series, had "Lingley and Lightfoot" made a better movie, there may have been more. But Junior Lingley was little more than a bumbler mincing about, and Lightfoot's acting seemed to be majorly the wide-eyed scared black man role.

These "race" movies had such low budgets that it is amazing they did as much as they did with what they had to work with. There are other better movies out there in the genre, if this is the first movie you see of this type, don't be discouraged, there are more out there of far better quality.

When the "Best Picture" winner was finally revealed at the . . .

[tadpole-596-918256 · 7/10 · 31 January 2019]

. . . "Oscar Awards" a couple years ago, many if not most knowledgeable viewers wondered if they had heard correctly. "Did they say MIDNIGHT SHADOW or MOONLIGHT?" perplexed film buffs asked each other. It's easy to see how these two pictures could be easily confused. While MIDNIGHT SHADOW features a less taxing plot to follow as well as having steadier camera work, some might see it as being less Progressive than MOONLIGHT in the Politically Correct area of Inclusiveness. Though both of these films are entirely devoted to the B-on-B Crime Wave sweeping across Chicago, Baltimore, and many places in between during the past century, MIDNIGHT SHADOW stands out in front of the curve, being ahead of its time. Urban constituents seem better represented among the Authority Figures populating MIDNIGHT SHADOW than they are in MOONLIGHT, but this may reflect a back-sliding on Real Life America's part since the mid-1900s, rather than the latter film being too pessimistic regarding the USA's Racial Parity Status. However, if the current Academy had to choose between MIDNIGHT SHADOW, the actual 1939 "Best Picture" "winner" (GWTW, in a rigged election), and MOONLIGHT for the title of Best Movie Ever, surely MIDNIGHT SHADOW would win in a landslide!