Fifteen years later, Siegel directed Reagan's final film, 1964's The Killers.
Plot
John Galen is in Florida, looking for a new place to live. Galen is a former scientist who now suffers from epilepsy, a fact he keeps hidden from Ann Gracie, a widow who rents him her house. Ann has introduced him to her friends C.L. and Thalia Shawn, a married couple who live nearby. Ann is upset because she believes that she can still hear the voice of her late husband Bill, who was killed in the war. John has an epileptic seizure. Dr. Poole, a psychiatrist, tells him that his condition is worsening. John and C.L., an artist, have discussions of whether there is life after death. Ann's sister Lisa develops a romantic interest in John, but he falls for Ann instead. Depressed over his condition, John breaks a date with Ann and contemplates suicide. He tells Dr. Poole "Death isn't the worst thing in life, only the last." A hurricane threatens as everyone is gathered at the house John rents. John discloses his condition to Ann, who reaffirms her love for him. However, John is reluctant to continue the relationship because of his epilepsy. A drunken Lisa "congratulates" Ann on being the one to watch John deteriorate. Ann slaps Lisa and convinces John not to kill himself. The couple reunites.[4]
“When I was directing Night unto Night, I fell in love with Viveca [Lindfors]. Consequently, she could do no wrong and I was certainly not in any position to criticise her. I just sat back and enjoyed looking at her, and she was, I must say, particularly lovely. And I did very little directing.”—Don Seigel in The Hollywood Professionals Volume 4 (1975)[5]
According to biographer Judith M. Kass, “Night unto Night is heavily atmospheric, leaning on the wind-whipped trees, pounding water and racing clouds of Florida before hurricane for its threatening overtones.”[6]
The film was a major box-office flop, earning $449,000 domestically and $249,000 foreign.[1]
Footnotes
^ abcWarner Bros financial information in The William Schaefer Ledger. See Appendix 1, Historical Journal of Film, Radio and Television, (1995) 15:sup1, 1-31 p 29 DOI: 10.1080/01439689508604551
