The Big Night

The tale is based on an obscure novel called The Dreadful Summit by author/screenplay-writer Stanley Ellin. The script for the film appears to be a jumbled mess, but each segment has great independent value that is the result of an intelligent Losey touch. The lovely remarkable scenes are the following:

A. Young bespectacled George bullied by friend to kiss a girl whom he likes B. A birthday cake with lighted candles given by his father that George is unable to blow out in full, One remains lit ominously. The cake serves as a reminder that the entire film deals with happenings of a single day. At the last scene the cake reappears to remind us of it. C. What appears to be real is proved unreal time and time again. D. The left-sympathizing Losey and friends made the film with a cleverness missing in other films of the day. Closure of the bars's curtains by the assistant to George's dad is a symbolic in an odd way. E. The small bitter role given to the enigmatic "2nd Mrs Citizen Kane" (Dorothy Comingore) as Julie Rostina, after she was hounded out in real life by Randolph Hearst and then the awful McCarthy witch hunt of alleged communists in Hollywood that followed states a story within a story. It is sad the way she died in real life. She had so much potential as an actress. F. The honest appreciation of beauty and talent of a black singer by George leads to so much bitterness of color-based prejudices. Losey adds a black poodle in chains in that scene. G The two kisses of George in the film are so different (the opening sequence and later one with Marion)

These sequences are all wonderful, though the film never comes together. Yet it is a notable statement of undying love by a husband for his wayward wife and also of a motherless young man trying to love women and eventually grow up to be a good husband.