Night Nurse

"Night Nurse" (Warner Brothers, 1931), directed by William A. Wellman, is not your ordinary hospital drama in the league of late 1930s "Dr. Kildare" series at MGM or the program "Nurse Keate" mysteries at Warners. It's a pre-production code, risqué hospital drama featuring a lone nurse (Barbara Stanwyck) surrounded by those of the medical profession who do more than examine and cure for humanity. But not all doctors and nurses are the villains here. There is even a chauffeur named Nick, who makes James Cagney's 'Public Enemy' character look more like a boy scout in comparison. But at 71 minutes, director Wellman fills this drama with plenty of sound and fury.

The storyline involves Lora Hart (Barbara Stanwyck), a young woman who obtains a nurses position at a hospital where she must follow strict rules and regulations, given an hour off to herself a day and only one night off a week. She rooms with Maloney (Joan Blondell), a sassy blonde who believes that rules are meant to be broken. Later, Lora is hired as a private nurse to care for two fatherless little girls who happen to be the heirs to a large fortune. Their mother, Mrs. Ritchey (Charlotte Merriam) prefers to enjoy herself by smoking cigarettes, being drunk and entertaining herself at all night parties surrounded by low-life people. At the same time, Mrs. Ritchey's chauffeur, Nick (Clark Gable), intends on having those girls starved to death in order to obtain their trust fund after marrying their mother. When Lora learns of this evil plot, she notifies Dr. Ranger (Ralf Harolde) for advise, unaware that he may also part of the plot.

In the opening segment of the video cassette copy of "Night Nurse," which is introduced by movie critic Leonard Maltin, he mentions that no one could have played the role better in "Night Nurse" than Barbara Stanwyck. Agreed! She gives her character an injection of toughness and sincerity. In one of its television presentations on Turner Classic Movies, host Robert Osborne mentioned that the role for Nick, the chauffeur, was originally intended for a young James Cagney, who recently scored big time success with the release of "The Public Enemy" (1931), also directed by Wellman. Although Cagney might have pulled it off, Gable is far better suited for this particular role mainly because of his forceful appearance, strong approach and firm voice. When he introduces himself to Nurse Hart (Stanwyck) in saying, loud and clear, "I'm NICK, the CHAUFFEUR," it shows how threatening his character can be. Cagney wouldn't have done this as well. Yet this is the same Gable, minus his famous mustache and likable personality, shortly before his long reign as MGM's "King of the Movies,", who not only beats up the weaker sex here, but gets to meet his match in Nurse Hart. Aside from Gable's slapping and socking his victims, along with making threats, Stanwyck pulls no punches when she socks an individual drunk in order to confront the mother to attend to her two abused daughters. When she finds that this drunken woman doesn't care, Hart, in anger, looks directly at the drunken floozy on the floor and quips, "YOU MOTHER!"

Also seen in the supporting cast are Ben Lyon, an actor in silent movies with a very well recorded distinctive voice, playing a bootlegger who identifies himself as Mortie near the film's end; Charles Winninger as the kind-hearted Doctor Arthur Bell, who also gets the feel of Nick's fist; Edward Nugent as an immoral intern who quotes this classic line to Stanwyck as she undresses: "Oh, don't be embarrassed. You can't show me a thing. I just came from the delivery room!"; Vera Lewis as Miss Dillon, the no-nonsense head nurse (and she means business); Blanche Frederici (another one of Nick's punching bags); and Marcia Mae Jones and Betty Jane Graham as the Ritchey girls.

After watching "Night Nurse," one wonders how many movies of this sort distributed from other film studios are out there, if any. If "Night Nurse" were made today and released as is, it would present few thrills. But because it was made in 1931, "Night Nurse" is full of surprises, then and now, mainly because of how many scenes got passed the censors. Even the topic of child abuse was a screen rarity during that time.

Rarely shown in recent decades, thanks to Ted Turner and his classic movie channel and video distribution through MGM/UA, "Night Nurse" can be seen, and really seen to be believed. Maybe the movie itself does go overboard, but it's really worth a look mainly because of the cast and tough direction in storytelling. This is vintage Stanwyck at her best, especially when wearing her slightly over-sized nurses uniform. And due to the frankness of director Wellman, he gives the movie the shot in the arm it needs.

And one final word of warning, BEWARE OF NICK THE CHAUFFEUR! (***)

"Night Nurse" released in 1931, in the depths of the Great Depression, was the kind of film Warner Brothers cranked out at that time. Barbara Stanwyck plays Lora Hart, a woman down on her luck who applies to become a nurse. She does so, with success. The initial part of the film takes us into the inner workings of a hospital -- circa 1931. Stanwyck is befriended by a fellow nurse, played by Joan Blondell, who provides much comic relief throughout the film. Stanwyck's first assignment is to take care of two sick children of a wealthy mother. Soon she begins to realize there is a sinister plot to starve the children so various people can profit from the children's trust fund. The children's mother is a serious alcoholic and seems to completely ignore her children, leaving them in the care of nurses and a housekeeper. A young Clark Gable has an eerie and threatening presence playing a chauffeur, who apparently is in league with the alcoholic mother and the children's sleazy doctor. Brought into the mix of all these characters is a charming bootlegger (prohibition was still the law of the land) played by Ben Lyon. He falls for Stanwyck after she patches him up from a bullet wound and doesn't report it as required. The film is clearly "pre-code" meaning the code was down in ink but largely ignored by studios until enforcement in 1934. There are some scenes of Blondell and Stanwyck dressing and undressing, and we see them in their undergarments several times! Liquor flows freely, despite prohibition and there are several scenes of various drunken party-goers. One drunken man tries to assault Stanwyck. There is some fairly graphic violence by 1931 movie standards. There is also some funny, snappy dialogue from Stanwyck and Blondell. My favorite line is when Stanwyck, after wrestling with the drunken, neglectful mother, looks down at her passed out on the floor and says "You mother..." I won't give away the ending, as it is a bit bizarre, but this is an entertaining film. See it just for Stanwyck. She gives a spirited and tough performance.

One of Barbara Stanwyck's best early starring films is Night Nurse which essentially is two separate stories.

The first is young Barbara in training to be a nurse and teaming up with Joan Blondell, another would be nurse, in a typical Joan Blondell role. Stanwyck is a bit more dedicated to the profession, but she learns from Blondell how to take a more realistic attitude.

The second part of the film concerns Stanwyck being assigned as a private night nurse to some kids who are being slowly starved to death. Something is really wrong when you see malnourished kids in a purportedly wealthy home. Stanwyck suspects something amiss and she's quite right. The doctor Ralf Harolde and the chauffeur Clark Gable are in cahoots in a murderous scheme.

Stanwyck puts her own career on the line to bring some justice and compassion to her charges. In doing so she has to step on some medical toes and question the ethics of who she's working for.

Clark Gable was loaned out from MGM to play the murderous chauffeur and if he hadn't been discovered as a new kind of tough leading man, he would have had a grand career as a character actor playing all kinds of thugs who slug. And slug Stanwyck he does, right on the kisser.

Stanwyck gets some help from breezy bootlegger Ben Lyon who would soon be leaving for the UK with his wife Bebe Daniels where he would have his best success. Earlier in the film Stanwyck kind of winks at the rules where Lyon is concerned and she makes a friend who comes in real handy when dealing with Gable and Harolde.

Lyon is fine, but this seemed to be a part James Cagney would have been perfect for. And Cagney going up against Gable would really have made this a classic.

"Night Nurse" is representative of pre-code era films--only slightly risqué by today's standards. It is also representative of the times in the sense that Hollywood seemed to be enamored of the medical profession--both doctors and nurses--during the period, with many such scripts being produced. I think it is due to changing views about medical professionals, instigated by medicine being more science-centered. Audiences probably learned a lot about medical procedures and standards that were somewhat new. This makes such films interesting now from a historic standpoint; and they are interesting as comparisons to today's methods. What we most learn is that standards of care which are en vogue almost always look primitive (and ignorant) by standards only fifty years later.

Joan Blondell and Barbara Stanwyck star in this film about the education, training and practicing of nurses. Stanwyck's character trains in a hospital after no medical education. The girls knock heads with the nurse in charge of their training (and their morals). They deal with the orderlies and physicians who, being male, have a sense of entitlement. Eventually, they get jobs in private care, tending to two young girls who seem neglected.

Clark Gable portrays a belligerent chauffeur with suspect intentions, though his part is a minor one. He plays "sinister" very well, perhaps a clue to his later successes portraying men who are somewhat threatening (like John Garfield).

At one point--as Stanwyck tries to unravel the mystery of the young girls' declining health--the film slows. Otherwise, I found it interesting on many levels. It is fun to see Blondell and Stanwyck as such young women. Even then, Stanwyck commanded the screen with her intensity, when necessary.

Gritty depression era flick, showing why Warner Bros. was the studio of record. It's tough broads here that get the leads. There's Stanwyck (before her teeth were fixed) and Blondell (gum-popping her way through the Nurse's Oath), both trying to survive grabby interns, unscrupulous doctors, murderous families, and no money. No, this isn't Young Doctor Kildare. Just compare Night Nurse with that sappy 1940's series for insight into what the Production Code did to social realism. Here nurses break the law, doctors violate their oath, and unless you go along, you don't work. Not exactly the professional AMA image. Sure, it's contrived melodrama. But there are elements of the real world here that would disappear from the screen for 35 years, courtesy the PC. Also included are gamey one-liners, mild strip scenes, and a really sardonic look at motherhood, along with a very scary Clark Gable. For a brief period from around 1930-34, Hollywood operated with the lid off, pressed by audiences with no work, no money and no prospects. Movies like NN reflect that reality, which was, of course, too unvarnished to survive. So catch up with this neglected period when you can, especially if the movie's from Warner Bros., like this little gem.