The question of when film noir began or ended, or whether it’s tied to one nation, is something people will likely continue to debate. Ultimately, its definition rests on individual perception, especially considering many early filmmakers didn't realize they were creating a distinct style. On the Night of the Fire (also known as The Fugitive) offers everything fans of film noir might hope for. Brian Desmond Hurst directed this adaptation of F.L. Green’s novel, and it features Ralph Richardson, Diana Wynyard, Romney Brent, Mary Clare, and Henry Oscar in the cast. The story follows Will Kobling, played by Richardson, a barber from Tyneside who, after seeing an open window at a local mill, gives into temptation and steals money to ease his family’s financial difficulties. It's through such rash decisions that lives change course. Right away, the film establishes a sense of working-class Britain from another era! The visuals are full of brickwork and cobblestone streets, alongside docks, gin houses, weary police officers, and barbershops where hard work is commonplace. A haunting score by Miklós Rózsa (of Double Indemnity and Criss Cross) and the cinematography by Günther Krampf (known for Pandora’s Box and The Ghoul) add to the atmosphere. With these elements combined and director Hurst embracing a pessimistic tone, it becomes clear this film disregards conventional moral standards. The characters are all deeply questionable; the narrative is filled with people willing to change their allegiances to achieve their goals. There are frantic alcoholics, secretive loners, and a businessman who isn’t above expecting sexual favors to settle a debt. The story also includes murder, blackmail, and the corruption of someone we might otherwise feel sympathy for, all set against the backdrop of a fire that blankets the town in smoke, water, and floating embers. The setting is steeped in noir imagery, Richardson delivers a strong performance, and then fate, with its dark touch, intervenes for those who appreciate this cinematic form. The film occasionally feels theatrical, and Mary Clare’s acting can be overly dramatic—something the director could have tempered. However, these are minor issues for anyone interested in British Proto-Noir before it was even recognized as such. It earns a rating of 8/10.

Source on TMDB