Moontide, directed by Archie Mayo and featuring a screenplay adaptation by John O’Hara from Willard Robertson’s novel, features Jean Gabin, Ida Lupino, Thomas Mitchell, and Claude Rains in its cast. David Buttolph and Cyril J. Mockridge composed the music, with cinematography handled by Charles G. Clarke. The film is an uneven affair—at times odd, occasionally excellent, but ultimately feeling excessive. The production suffered from interference related to the Motion Picture Production Code, as well as the early departure of Fritz Lang and Lucien Ballard, leaving a pervasive sense that something more substantial could have been achieved. The narrative centers on Gabin’s character, Bobo, a rough-around-the-edges sailor living by the docks; after an evening of heavy drinking, he awakens with the unsettling suspicion that he may have taken someone's life. This complication arises as a troubled woman he assisted begins to significantly influence his existence. The story proves engaging primarily due to its characters. Surrounding Bobo is Tiny (Mitchell), who appears to exploit and control him. Then there’s Nutsy (Rains), an intellectual despite his name, while Anna (Lupino) has attempted suicide, and her presence triggers a series of dramatic developments. These individuals exist within the waterfront community, interacting with various questionable figures, and it's this setting, showcasing some interesting equipment, that immediately captures attention. The majority of scenes are presented through a film noir aesthetic; mists linger constantly, lighting is subdued, and the water’s sheen hints at underlying darkness. One sequence depicting a drunken dream resembles Dali’s work, representing one of several peculiar moments throughout—including the unexpected sight of Tiny striking Nutsy in the shower. Sensitive subjects are handled with restraint, and conversations consistently maintain interest. The narrative would have been considerably stronger if it weren't so disjointed, with numerous frustratingly dangling plot threads that prevent a truly satisfying experience. The performances are excellent, with Mitchell and Lupino deviating from their typical roles, and the visuals offer a genuine pleasure for those drawn to noir aesthetics (Clarke received an Oscar nomination for his work). Despite this, there’s still a lingering desire for what might have been possible with Lang and Ballard involved. The film earns a rating of 6.5/10.

Source on TMDB