of Night (1945) At this early stage in the narrative, the mirror has no other function than to illustrate visually the suggestion of possible emotional distance between the two characters, something which will be developed further when the mirror's supernatural properties manifest themselves and Peter finds himself unable to see his fiancee's reflection at all, as well as crystallizing his paranoia about his bride-to-be and her relationship with her 'friend'  with whom he suspects she is having an affair. Yet as the story progresses, the mirror motif comes to take on a second main function, namely that of underscoring an overall sense of  the couple's bourgeois complacency. Although we are in a different, more affluent social milieu to that of the couple in It Always Rains on Sunday, the mise en scene of the segment is again one of drab domesticity. The houses in which they live are shown to be cold, sterile, ordered places of social propriety, while the visions which Peter has in the mirror are in direct opposition, exuding warmth and a seductive exoticism. Ralph Michael in Dead of Night (1945) Here, as with It Always Rains on Sunday, is the mirror's trap: the promise of an exotic fantasy world as an escape from the dissatisfaction of drab domesticity, but one which ultimately leads to destruction. So too is there a temporal element -- just as Sunday 's mirror allowed its protagonist to hark back to the past, Peter's fantastic vision of a Georgian bedchamber, while not