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6.2/10
Senior Film Conservator
A definitive 6.2/10 rating for a film that redefined the boundaries of cult cinema. After Tonight remains a cornerstone of transgressive art.
If you have a thing for black-and-white espionage yarns where everyone is constantly wearing formal wear and hiding secrets behind polite smiles, then yeah, watch this. If you need explosions or modern pacing, skip it. You’ll just spend the whole runtime checking your phone.
There is this one moment about halfway through where the lighting shifts just enough to make Constance Bennett look like she’s holding the entire plot together with her eyebrows. It’s brilliant. She has this way of looking at Gilbert Roland that tells you everything you need to know about the 'spy' situation before the script even gets around to admitting it.
Speaking of, Gilbert Roland is playing the whole 'tortured intelligence guy' thing with a lot of heavy breathing. Sometimes it works, sometimes it’s just a bit much. He really leans into the Austrian officer vibe, which mostly means standing very straight and looking concerned at dinner parties. 🥂
The dialogue? It’s snappy in that 1930s way where nobody ever says exactly what they mean. They just circle around the truth like sharks. It’s honestly refreshing compared to the way movies hold your hand these days. You have to pay attention to the background stuff, like who is holding their champagne glass weirdly or who isn't smiling when they’re supposed to be.
I couldn't help but think about how much more grounded this feels than something like Sinbad, the Sailor, which goes for the big spectacle. After Tonight is small. It’s intimate. It’s mostly people talking in dimly lit rooms, which is honestly where the best drama happens anyway.
There are a few scenes that feel like they were just there to kill time until the next big reveal, but I didn't really mind. The atmosphere carries the weight. It’s got that specific, slightly dusty charm you only find in movies from this era. Even the extras seem like they’re actually having a conversation, which is a rare treat. 🕵️♂️
Also, Mischa Auer pops up, and you just know things are going to get slightly weirder whenever he's on screen. He has this frantic energy that keeps the whole thing from feeling too stuffy.
Look, it’s not going to change your life. It’s not some grand statement on politics or war. It’s just a solid, well-acted piece of spy drama that doesn't overstay its welcome. Sometimes that's exactly what I want on a Tuesday night.
IMDb —
1919
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