What a beautiful movie!

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

An old vaudeville gag has a wife hiding her lover in her closet as her husband comes home unexpectedly, and when he goes to the closet, the lover claims he's waiting for a streetcar as one arrives in the nick of time. This is nothing more than an almost plotless musical comedy about an American theatrical producer (Jack Benny) in London who accepts the invitation of a neglected wife (Binnie Barnes) to come to her country estate for the weekend to make her husband (Edward Arnold) jealous. He's already upset because the musical comedy star he's in love with (Dorothy Lamour) loves somebody else (Phil Harris). Then there's "Rochester", aka Eddie Anderson, Benny's wise-cracking but loyal valet who gives Mr. Benny as good as it takes. Toss in Betty Grable in a pointless role as a chorus girl and you've got the ingredients for a comical pie where sadly the fruit has been left out.Some lavish production numbers are interspersed, but other than the luxurious art decco look, they are not really all that memorable. The best scenes of course involve Benny and Rochester's interactions, especially a huge meal where the dateless Benny refuses to allow Rochester to partake of it until he is dumped by Lamour and turned down by Grable and her chorus girl friends who would rather spend an evening with their Aunt Tilly than with Jack. The rapporteur between Benny and Robinson might often seem subservient from Rochester's point of view, but it becomes very clear that Benny would be absolutely lost without him and that Rochester is greatly aware of that. Isabel Jeans ("Gigi") and Monty Woolley ("The Man Who Came to Dinner") have inconsequential supporting parts as members of Barnes' and Arnold's social set, with Jeans very comical in her over the top French accent as the instigator of Barnes' deception. Barnes is urbane and sophisticated, and Arnold his usually gregarious self, very funny in a scene where Barnes brags about her lunch with Benny as he basically responds, "That's nice, dear". Of course, when all becomes clear to him, it's a different story, and Arnold spends much of the rest of the film trying to shoot Benny for messing with his wife. Unlike other comics of the time, it appears to me that Benny simply tried to repeat the success of what he was doing on radio, not really thinking that audiences at the movies wanted something more solid than gags and a couple of decent songs. It isn't bad, but I wouldn't call Benny a threat at Paramount to anything his good friend Bob Hope had been doing already.

I found this movie enjoyable, with great performances from some great people. There is no pretense of high art, or even an attempt at it; but mostly, I believe, intended as a vehicle for the great radio star Jack Benny. Typical late-Depression fare: and very important So don't expect too much, and you'll be pleased.

This is among the worst films ever made by Paramount. It's supposed to be a comedy/musical. But there are no laughs (not even a smile), and the music and the musical numbers are fourth rate. Viewers old enough to have enjoyed the Jack Benny shows on radio and television will find this 1939 movie a great disappointment.There seems to have been a severe lack of intelligence throughout. The script is inept, Rochester is featured far beyond his talents, Dorothy Lamour and Betty Grable are wasted, and Edward Arnold and Monty Woolley were given embarrassing parts. The racial jabs at Rochester are extraordinarily offensive.So, The Horn Blows at Midnight was not Jack Benny's worst film.

There is a persistent rumor that Jack Benny only made one good film in his career: Ernst Lubitsch's TO BE OR NOT TO BE. Actually, the radio and television comedy star did make other comedies that were worth watching - most notably CHARLIE'S AUNT , IT'S IN THE BAG and LOVE THY NEIGHBOR (both with Benny's radio feud partner Fred Allan), and GEORGE WASHINGTON SLEPT HERE (with Anne Sheridan and Charles Coburn - a kind of dry run for Cary Grant and Myrna Loy's MR. BLANDINGS BUILDS HIS DREAMHOUSE). But he certainly made one or two serious misfires: BUCK BENNY RIDES AGAIN and THE HORN BLOWS AT MIDNIGHT (the last one even Benny realized was awful).MAN ABOUT TOWN was typical of the rut that Benny frequently fell into. Because of his radio personality, the movies rarely thought of experimenting with him in a variety of roles. Different aspects of his cheap tightwad and his narcissistic would-be great lover popped up in many of his films, even his best ones. In MAN ABOUT TOWN he is a musical comedy star and producer in London, playing opposite Dorothy Lamour (whom he is in love with). But she is tired of his finding excuses not to marry her, so she is cold shouldering him. Benny tries to get her back in line by showing too much attention to Binnie Barnes, an English aristocrat. Barnes, upon the advise of Isobel Elsom, reciprocates to make her husband, Edward Arnold, jealous. As is pointed out in another of the reviews, Elsom is determined to reignite her husband's (Monte Wooley) jealousy the same way. Benny is not upset by this development - besides making Lamour smolder (as he hopes) he is getting a lot of publicity for his new show (which has a final musical number where Benny is a potentate with a harem).Arnold and Wooley both are certain that each other is the cuckold here, but when they both realize that both of their wives have been seemingly carrying on with Benny, they both decide to rid the world of him. So while on stage in that final number, Benny sees both men standing side by side with murder in their eyes, and makes a fair shambles of his show's finale. Lamour and Benny's faithful valet/factotum Eddie Anderson save his bacon.It is amusing at points, and besides "Rochester" it is of interest to Benny and old radio fans to see his first "juvenile" singer, Phil Harris, in the film too. But it is little more than a mild amusement. See it once, and that is all there is to it. Amusing but not a film for the ages.