THE MOVIEGOER

"All Through the Night" may not go on quite that long, but it has enough action and cop-and robber chases to last well on into the morning. As a matter of fact, probably the biggest fault in the film is its overabundance of climactic gunfights and midnight war chouse searches. These are exciting and all that, but they leave you a bit worn out when they're finally over.

Humphrey Bogart, as tough and suave as ever, plays the part of a Broadway gambler who stumbles into a Fifth-Column outfit, picks up a political consciousness and a good-looking refugee while he's at it, and winds up by doing his bit for national defense. Conrad Veidt is adequately sinister as the Nazi leader, but it's Peter Lorre who rings the bell again as the screen's number one menace. Without saying much, he manages to glide on and off the scene with a minimum of effort and a maximum of good solid horror.

Enlivened by some clever dialogue, and helped along by rapid-paced direction, "All Through the Night" packs enough action and suspense both to wear you out and to convince you of the Nazi menace--and all for the price of one admission. The second feature, "The Body Disappears," is more like the Nazi menace.