Eyes in the Night

In the early years of the cycle, the cynicism of noir somehow resulted in good clean fun, like Fred Zinnemann’s Eyes in the Night, an early detective yarn involving murder, espionage, family rivalry, theater, visual impairment, and the most talented canine in all of film noir. The warm and wise Edward Arnold stars as Duncan MacLain, a sightless private eye who relies on his remaining senses and his guide dog Friday to investigate Paul Gerente (John Emery), the predatory ex-boyfriend of the wealthy Norma Lawry (Ann Harding), who now has his sights set on Norma’s pretty, young stepdaughter Barbara (Donna Reed). After Gerente is found murdered in his apartment, MacLain’s suspicions shift to members of the Lawry household staff, the local theater group (where Barbara is the star), and covert interest in a secret invention being developed by Norma’s scientist husband. Zinnemann and crew establish gorgeous noir aesthetics (thick shadows and chiaroscuro lighting, neon hotel signs flashing in the night) and the cast offer up top-quality performances, but the real star is Friday, the German Shepherd who snatches guns, open doors, and devises escape plans from underground captivity. (Dog lovers, this film is a must). Bonus: Watch good girl Donna Reed knock out another woman with a punch to the face.