All Night Long: Othello in the London '60s Jazz Scene

McGoohan as the ambitious Johnny Cousin.

William Shakespeare's plays have provided the source material for science fiction films (Forbidden Planet), Westerns (Jubal), musicals (Kiss Me, Kate), and dramas (Ran). One of the most intriguing contemporary updates is All Night Long (1962), which is set against the backdrop of the 1960s London jazz scene.

The story unfolds in one evening at a jam party hosted by a wealthy jazz aficionado (Richard Attenborough). Patrick McGoohan stars as Johnny Cousin, a deeply jealous and ambitious drummer (the Iago figure) determined to break up the interracial marriage of Aurelius Rex (Paul Harris), a prominent bandleader, and his wife, Delia (Marti Stevens), a retired singer. When Delia refuses to leave her husband to join Johnny's new band, he orchestrates a malicious, and manipulative campaign to convince Rex that Delia is having an affair with a fellow band member. As the night progresses, Johnny's scheming causes friendships to fracture and paranoia to run wild, all unfolding amidst performances from real-life jazz legends like Dave Brubeck and Charles Mingus.

Paul Harris as a jealous husband.

There is much to admire in All Night Long. Personally, I love films that take place in a single setting and within a short span of time (e.g., 12 Angry Men). Sometimes, though, these limitations can become too obvious and morph into a distraction. Even Hitchcock wasn't able to overcome that problem in Rope (of course, Hitch added the "single take" trick, too). However, in All Night Long, director Basil Dearden employs the confined setting and the compression of time effortlessly to generate an undercurrent of tension that runs throughout the film.

It helps that Patrick McGoohan portrays Johnny as a character on the verge of spontaneous combustion. Johnny becomes borderline manic as he tries anything to seize the last opportunity to create his own band. It's a far cry from the ultra-cool characters that would define McGoohan's career later in the decade.

While McGoohan and director Dearden make All Night Long a worthwhile watch, it does suffer from too many musical interludes. I am that sure that jazz fans will take issue with this criticism--the film captures performances by many of the greatest jazz musicians of that era. However, the plot stops too often for one jam session after another. I get it...these folks are tremendously talented! Plus, at 91 minutes, the film relies so heavily on the jazz pieces that, without them, it would barely qualify as feature‑length.

If you're a fan of McGoohan, Dearden, or 1960s jazz, then All Night Long is required viewing. For others, though, it's optional and there are better movie variations of Othello. I recommend Delmer Daves' underrated 1956 Western Jubal, which stars Glenn Ford and Ernest Borgnine.

Pride and Prejudice: A Second Review 10 Years Later

I first reviewed MGM’s Pride and Prejudice (1940) on this blog back in 2016. After revisiting the film recently, I decided to try a small experiment: write a second review without rereading the original. Would I see the movie the same way ten years later, or would time and perspective shift my impressions? If you’re curious, you can read my 2016 review—what follows is my fresh 2026 take.

Greer Garson and Laurence Olivier.

Adapting Pride and Prejudice into a two‑hour film inevitably requires compressing Austen’s layered novel into a much tighter frame. Characters who add texture and humor on the page—Mary Bennet, Mr. Collins, the Gardiners—are trimmed down or vanish altogether. Subplots are streamlined, social encounters condensed, and only a fraction of Austen’s sparkling dialogue survives the transition to screen. It’s the perennial challenge of adapting Austen: what do you keep, and what must you sacrifice? 

Given those challenges, MGM's 1940 film adaptation works very well.  It follows the spirited Elizabeth Bennet (Greer Garson) as she navigates the pressures of marriage, class, and first impressions in 1830s England, especially in her evolving relationship with the proud, reserved Mr. Darcy (Laurence Olivier). The arrival of wealthy bachelors Darcy and Mr. Bingley sets off a flurry of matchmaking in the Bennet household, where misunderstandings, bruised pride, and sharp wit shape the sisters’ romantic entanglements. As Elizabeth and Darcy confront their own misjudgments, their initial friction softens into mutual respect and affection, culminating in the familiar reconciliations and marriages.

Garson as Elizabeth.

Much of this adaptation’s enduring charm comes from the performances. Greer Garson brings a blend of intelligence, warmth, and effortless poise to Elizabeth Bennet, making the character’s wit and self-possession feel completely natural even though Garson was notably older than Austen’s teenage heroine. Laurence Olivier matches her with a Darcy who carries the right measure of brooding reserve, allowing flashes of admiration and vulnerability to break through his polished exterior. Together, they create a dynamic that feels both playful and emotionally grounded.

The screenplay, co-written by Aldous Huxley (Brave New World) is based on Helen Jerome’s 1936 stage play rather than directly on Austen's book. One of the most substantial changes involves Darcy's aunt, the intimidating Lady Catherine de Bourgh. She is played by Edna May Oliver in a lighter, almost comedic fashion compared to her intimidating book counterpart. Instead of attempting to thwart the Elizabeth-Darcy match, she intervenes at the climax by playfully engineering the romance. This altered, matchmaking role provides a humorous resolution that deviates entirely from the hostile confrontation in Jane Austen's original novel.

So, how does this adaptation compare to other film and TV versions? I would rank it just below the 2005 Pride and Prejudice that starred an age-appropriate Keira Knightly and is generally more faithful to Austen's novel. However, the gold standard is easily the 1995 TV miniseries with Colin Firth and Jennifer Ehle. The miniseries format allows it to explore Austen's themes in more depth and the supporting characters are given more screen time. Additionally, Firth's portrayal of Darcy has become the definitive one against which all others are measured.