All Through the Night is a 1942 American comedy-crime-spy thriller film directed by Vincent Sherman and starring Humphrey Bogart, Conrad Veidt and Kaaren Verne, and featuring many of the Warner Bros. company of character actors.

The supporting cast features Peter Lorre, Frank McHugh, Jackie Gleason, Phil Silvers, Barton MacLane, and William Demarest.

While at the club, Gloves has a drink with Leda that is interrupted by her piano player, Pepi, who takes her away to a back room, where he shoots Marty's partner, Joe Denning.

While being suspected of Joe's murder by Marty and the police, Gloves traces the taxi to an antiques auction house operated by Hall Ebbing and his assistant, Madame.

Gloves finds a notebook and reads Miller's name in it as well as that of "Leda Hamilton", her Jewish name "Uda Hammel", and the death of her father in Dachau concentration camp.

[4] Producer Hal B. Wallis made All Through the Night as a "companion piece" to his earlier anti-Nazi melodrama, Underground, despite the poor box office of the prior film.

[3] Humphrey Bogart was not the first person considered for the lead in the film: it was originally supposed to be played by Walter Winchell, the gossip columnist who would later be the narrator for the TV series The Untouchables.

[6] On TCM.com, Mark Frankel reports that the scene in which Bogart and William Demarest confuse a room full of Nazi sympathizers with doubletalk was not part of the original script, “Sherman thought the idea up himself and presented it to producer Hal Wallis.

[9][failed verification] Bosley Crowther of The New York Times gave the film a mostly positive review, writing: "In spite of its slap-bang construction and its hour-and-three-quarters length, the picture does move with precision and steadily maintained suspense ... All Through the Night is not exactly a melodrama out of the top drawer, but it is a super-duper action picture—mostly duper, when you stop to think.

"[10] On Dec. 3, 1941, before the attack on Pearl Harbor, a reviewer for Variety wrote: "Somewhat on the lurid side and with the Nazi menace motif of familiar timber, shortcomings are compensated for by fast-moving continuity which smartly builds suspense and hold (sic) attention.

"[11] By December 31, Variety had changed its tune: "Chase and gunbattle in Central Park, scraps in the warehouse district, the mystery girl in distress, emphasis on danger to American institutions from foreign conspirators add up to elementary but surefire audience appeal.

[13] Russell Maloney of The New Yorker panned the film, writing that "Hitchcock himself couldn't have asked for a better plot," but claiming that it was brought down by "the feebleness of invention, the wordiness of the dialogue, [and] the sluggishly paced direction".