The Man I Love (1947 film)

The Man I Love

Theatrical release poster
Directed by Raoul Walsh
Produced by Arnold Albert
Screenplay by
Based on the novel Night Shift
by Maritta Wolff
Music by Max Steiner
Cinematography Sidney Hickox
Edited by Owen Marks
Distributed by Warner Bros.
Release dates
  • January 11, 1947 (1947-01-11) (United States)
Running time
96 minutes
Country United States
Language English

The Man I Love is a 1947 American film noir melodrama directed by Raoul Walsh, based on the novel Night Shift by Maritta M. Wolff, and starring Ida Lupino, Robert Alda and Bruce Bennett. The title is from the George and Ira Gershwin song "The Man I Love", which is prominently featured.[1]


Homesick for her family in Los Angeles, lounge singer Petey Brown (Ida Lupino) decides to leave New York City to spend some time visiting her two sisters and brother on the West Coast. Shortly she lands a job at the nightclub of small-time-hood Nicky Toresca (Robert Alda) where her sister Sally (Andrea King) is employed.

While evading the sleazy Toresca's heavy-handed passes. Petey falls in love with down-and-out ex-jazz pianist San Thomas (Bruce Bennett), who never recovered from an old divorce. Variously solving the problems of her sisters, brother and their next-door neighbor, the no-nonsense Petey must wait as San decides whether to start a new life with her or sign back on with a merchant steamer.



Warner Bros. purchased the rights to Maritta Wolff's novel in 1942 for $25,000, with the original intention of starring Ann Sheridan and Humphrey Bogart in the film adaptation.[2] Working titles for the film were Night Shift and Why Was I Born?, the latter a 1929 song by Jerome Kern and Oscar Hammerstein II featured in the movie.[2][3] Production fell behind schedule because Lupino was suffering from exhaustion she fainted during one scene with Robert Alda and had to be cut out of her tight-fitting dress finishing 19 days late and $100,000 over budget.[3]

The Man I Love later became Martin Scorsese's primary inspiration for his film New York, New York.[3]


Bosley Crowther of The New York Times wrote that the film's mood is "both silly and depressing, not to mention dull".[4]


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