Perry Kate Very very predictable, including the post credit scene !!!

Ceticultsot Beautiful, moving film.

Portia Hilton Blistering performances.

Ortiz Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

bkoganbing The Midnight Story has Tony Curtis starring as a young motorcycle cop who was raised in an orphanage and the priest who ran it is knifed to death at the midnight hour. As this priest was the single most important figure in his life Curtis wants to get reassigned to homicide to help catch the killer. But he doesn't get reassigned so Curtis quits the San Francisco PD and goes to work on his own. Someone in that Fisherman's Wharf community did the deed and he'll find who it is.His suspicions fall on Gilbert Roland playing his usual happy go lucky self as one of the fisherman, but Roland is a man who is hiding something obviously.Curtis's efforts to ingratiate himself with Roland work only too well. He gets a job with him and even boards with his family. He grows to like him and even more important he falls for Marisa Pavan who is Roland's cousin who also boards with him.Coming right before Tony's breakthrough role in Sweet Smell Of Success, The Midnight Story is a small indication of what Curtis was capable of. He turns in a fine job as the troubled and conflicted cop who wants more than anything to believe Roland is not capable of killing a priest. The real star of the film though is Roland. This part is one of the best he ever did on film.Some other outstanding performances are Argentina Brunetti as Roland's sister, Ted DeCorsia and Jay C. Flippen as Curtis's police superiors and one that is brief but memorable is Peggy Maley as a potential witness who could finger someone else for the murder. Her scene with Curtis, DeCorsia, Flippen, and Russ Conway as the cops questioning here is quite memorable.In his memoir Tony Curtis said he liked this film very much. So will you if you see it.

MartinHafer While "The Midnight Story" is not among Tony Curtis' more famous films, it is among his better films. The fact that it's a story told without spectacle (such as in "The Vikings") might just account for it being lesser-known...but it deserves to be seen and appreciated.Joe Martini (Curtis) is a cop who is incredibly upset following the brutal murder of a local priest. This kindly man had helped Joe when he lost his family and Joe is determined to investigate the murder on his own when the detectives can find no leads. So he takes a leave of absence and follows up his one very tenuous lead...a man he saw at the funeral who seemed more affected by the priest's death than anyone else. So, Joe befriends Sylvio (Gilbert Roland) and tries to slowly and casually investigate Sylvio's actions the night of the murder. However, something unexpected happens...Sylvio is so taken with his new 'friend' that he invites Joe to live with him and his family. Now, Joe's in a bind...as he's practically family with the man who MIGHT have killed the priest!The acting is very good in this one and Gilbert Roland and Tony Curtis put in really nice performances. Additionally, the story is well written--with a dandy finale. Well worth your time.

calvinnme This is really a great early role for Tony Curtis. Curtis plays Joe Martini, a San Francisco cop who got his job on the force through the recommendation of Father Thomasino, and who was in an orphanage from age six after the death of his parents, with Thomasino taking him under his wing and being a father figure to him. So naturally Joe takes it personally when Thomasino is murdered in an alley by an unknown assailant. The priest is beloved in the neighborhood, had no enemies, so the police are stumped. However, they get tired of rookie Joe butting in during the investigation and he turns in his badge so he can investigate on his own.He has one hunch. He was a pallbearer at Thomasino's funeral, and on the way out of the church he sees a man in great distress, his hands clutching a rosary so tightly his fists are bleeding. The man is Sylvio Malatesta (Gilbert Roland), who owns a local fish market. So Joe goes undercover, posing as a guy looking for a job saying that Father Thomasino was going to recommend him to Malatesta, but that he died before he could. Well, it works. Not only does Malatesta give him a job, he invites him to bunk with his family for awhile. So Joe quickly becomes friends with Sylvio, he actually likes him, and in the Malatestas he finds the family he never had.There are a few weird things about Malatesta. Apparently he has walked the floor of his bedroom for years - he still does. And he was once engaged to a girl in Italy during WWII, but then she died and he has shown no real interest in marriage since. So Malatesta is indeed a troubled soul, but his troubles predate Thomasino's death by years, and he has an apparent alibi for the night of Thomasino's murder. Can Joe punch holes in that alibi? Does he even want to now that Sylvio's family has become like his family? Watch and find out.Roland and Curtis are great in this. They have a real brotherly chemistry that makes this film worth watching every bit as much as the murder mystery itself. The only bad thing I can say about the film are the Italian stereotypes. Marisa Pavan plays Sylvio's cousin Anna who plays it over the top with her Italian shrew routine who is either bubbling with anger that comes out of nowhere, slamming doors and throwing things, and then suddenly she is all sweet and doe eyed. It did get tiresome. Then there is Mama Malatesta who acts like a calmed down version of Anna. But besides that, I'd highly recommend this one.

Spikeopath The Midnight Story (AKA: Appointment With A Shadow) is directed by Joseph Pevney and written by Edwin Blum and John Robinson. It stars Tony Curtis, Marisa Pavan, Gilbert Roland and Jay C. Flippen. Music is by Joseph Gershenson and CinemaScope cinematography is by Russell Metty.When a San Francisco priest is murdered, friend of the priest, Joe Martini (Curtis), a traffic cop, gets a hunch and ingratiates himself into the family of the man he thinks is responsible.Somehow it has become one of those 1950s black and white crime movies entered into film noir publications. It doesn't belong in that particular filmic chest, but it does ask to be sought out by fans of such 1950s fare. In actuality it's a whodunit? Thrusting a handsome and restrained Curtis into a murder mystery while his emotions get whacked from all sides. Filmed (joyously so) and set in Frisco, the makers never once play their hand to reveal what the finale will bring.The everyday life of a working and loving Italian-American family is vividly brought to life, luring us in to their world as intrigued but concerned observers - the North Beach District a sweaty backdrop just waiting to spill its secrets. Pevney keeps things brisk, never letting things sag, even as the inevitable romantic thread dangles (it's 1950s Tony Curtis after all), there's always an air of suspicion and mystery pulsing away in the narrative.Curtis fronts up for dressage, but delivers promise on an interesting role, but it's Roland's movie all the way. A damn fine turn that only comes to being in the final quarter. In support there is the sturdy presence of Flippen and Ted de Corsia, both of whom leave a telling mark. Each and all building to a finale, which may not contain the wallop one had hoped, but strikes a positive note and rounds it out as a film to seek out. 7/10