A poor but basically honest flower woman agrees to impersonate a wicked opera star.A poor but basically honest flower woman agrees to impersonate a wicked opera star.A poor but basically honest flower woman agrees to impersonate a wicked opera star.
Luis Alberni
- Violinist
- (uncredited)
William Bailey
- Officer in Cabaret Box
- (uncredited)
Vince Barnett
- Egon - Chauffeur
- (uncredited)
William Begg
- Cabaret Patron
- (uncredited)
George Bickel
- Papa Lorenc
- (uncredited)
William A. Boardway
- Cabaret Patron
- (uncredited)
Russell Custer
- Cabaret Patron
- (uncredited)
J.C. Fowler
- Cabaret Patron
- (uncredited)
Carl M. Leviness
- Cabaret Patron
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- GoofsAt 1:15 in, when the Count and the real Fritzi are talking on the balcony, the giant stone planter jumps back and forth--sometimes it's in front of him, sometimes it's behind him.
Featured review
Masquerade in Zuppa
ONE HEAVENLY NIGHT (United Artists, 1930), directed by George Fitzmaurice, was producer Samuel Goldwyn's contribution to the early talkie operettas. Following the pattern of MGM's Grace Moore, Warner Brothers' Bernice Claire or Vivienne Segal, or Jeanette MacDonald of Paramount, Goldwyn went on to introduce to the American screen the singing British entertainer by the name of Evelyn Laye (1900-1995). Appearing as her male co-star is the singing talent of John Boles (1987-1969), whose earlier contribution to the movie musical consisted those of THE DESERT SONG (Warners, 1929), RIO RITA (RKO, 1929), CAPTAIN OF THE GUARD (Universal, 1930), and several others before musicals of any way, shape or form became box-office disappointments. Though produced in 1930, and released in early January 1931, ONE HEAVENLY NIGHT came late into the cycle to be considered a success.
Set in Hungary, the story opens at the Cafe Budapest where Fritzi Yves (billed Fritzi Yajos) (Lilyan Tashman) entertains with her rendition of a naughty song. Being labeled "The Toast of Budapest," Fritzi, quite popular with the male population, ignores a handsome young soldier for her middle-aged guest, Baron Zagen (Lionel Bellmore). A fight ensues leading to a riot, police raid and Fritzi's arrest. Remaining behind is Lilli (Evelyn Laye), a flower girl at the cabaret who admires Fritzi's carefree ways. Upon her release, Fritzi is sentenced by the Prefect of Police to spend six months where she is to rest in the country chaperoned by some local magistrate of Zuppa. Before leaving, Fritzi visits with Lilli and talks her into masquerading as herself while she remains behind with Baron Zagen. Accompanied by Otto (Leon Errol), her guardian, Lillie, posing as Fritzi, spends her time in a villa which happens to be near the estate of Count Mirko Tibor (John Boles), the magistrate and ladies' man who very much wants to meet this notorious "worst woman in Budapest." He finally does after her horse she's riding on happens to cross over the boundaries onto his estate. Getting acquainted with him at his dinner gathering, with his manservant, Janos (Hugh Cameron) entertaining with Otto elsewhere, Mirko, who has kept his identity secret, finds it strange how this notorious "Fritzi" doesn't appear to be what her reputation describes. Also in the cast are Marion Lord (Liska); George Bickel (Papa Lorenc); Henry Kolker (The Prefect of Police); and Luis Alberni (The Violinist).
Songs featured include: "I Belong to Everybody, Everybody" (sung by Lilyan Tashman); "Along The Road of Dreams" (sung by Evelyn Laye); "My Heart is Beating" (sung by Evelyn Laye and John Boles); "The Goodnight Serenade" (sung by Laye, Boles and male chorus); and "Heavenly Night (When Evening is Near)" (sung by Boles and Laye). Although these tunes are forgettable, only "My Heart is Beating" stands out as the film's best song. With the song interludes being few and far between, and this being centered as Evelyn Laye's movie, it is Leon Errol who gets most of the attention with his comedy antics. Assisted by Hugh Cameron, amusements include one where they try to fix a Swizzle drink of rum through the instructions of a air-flipping pages book; and the art collection sequence where Cameron attempts to keep the careless Errol from breaking an assortment of china and glassware. Errol gets about two minutes to himself, sans any underscoring, trying in vain to place a stamp onto an envelope to mail. Though hilarious by 1931 standards, these comedy moments may seem long and drawn-out to contemporary viewers. Evelyn Laye is acceptable in her role, quite pretty, singing pleasingly and looking almost like Joan Bennett in her blondish headdress at times. Sadly her American movie career was short-lived. After returning to Hollywood for THE NIGHT IS YOUNG (Metro-Goldwyn-Mayer, 1934) singing opposite Ramon Novarro, it was realized she was better off appearing in British stage revues and music halls instead. As much as John Boles is a very good singer, he would soon abandon his vocalization for work in dramatic roles as STELLA DALLAS (1937) starring Barbara Stanwyck.
For Samuel Goldwyn's only attempt in operetta, ONE HEAVENLY NIGHT gets by on its own merits during much of its 82 minutes. With limited television broadcasts on New York City's WPIX, Channel 11 (1971-1975), ONE HEAVENLY NIGHT, which had a limited video cassette release but to date, no DVD, did have some brief cable television broadcasts such as on Wometco Home Theater and Showtime (1986), Nostalgia Television (1990s) and Turner Classic Movies TCM premiere: November 13, 2008). Virtually forgotten, possibly due to its unfamiliar cast names, namely Evelyn Laye, ONE HEAVENLY NIGHT is an agreeable little piece of early sound operetta from Hollywood's bygone era. (***)
Set in Hungary, the story opens at the Cafe Budapest where Fritzi Yves (billed Fritzi Yajos) (Lilyan Tashman) entertains with her rendition of a naughty song. Being labeled "The Toast of Budapest," Fritzi, quite popular with the male population, ignores a handsome young soldier for her middle-aged guest, Baron Zagen (Lionel Bellmore). A fight ensues leading to a riot, police raid and Fritzi's arrest. Remaining behind is Lilli (Evelyn Laye), a flower girl at the cabaret who admires Fritzi's carefree ways. Upon her release, Fritzi is sentenced by the Prefect of Police to spend six months where she is to rest in the country chaperoned by some local magistrate of Zuppa. Before leaving, Fritzi visits with Lilli and talks her into masquerading as herself while she remains behind with Baron Zagen. Accompanied by Otto (Leon Errol), her guardian, Lillie, posing as Fritzi, spends her time in a villa which happens to be near the estate of Count Mirko Tibor (John Boles), the magistrate and ladies' man who very much wants to meet this notorious "worst woman in Budapest." He finally does after her horse she's riding on happens to cross over the boundaries onto his estate. Getting acquainted with him at his dinner gathering, with his manservant, Janos (Hugh Cameron) entertaining with Otto elsewhere, Mirko, who has kept his identity secret, finds it strange how this notorious "Fritzi" doesn't appear to be what her reputation describes. Also in the cast are Marion Lord (Liska); George Bickel (Papa Lorenc); Henry Kolker (The Prefect of Police); and Luis Alberni (The Violinist).
Songs featured include: "I Belong to Everybody, Everybody" (sung by Lilyan Tashman); "Along The Road of Dreams" (sung by Evelyn Laye); "My Heart is Beating" (sung by Evelyn Laye and John Boles); "The Goodnight Serenade" (sung by Laye, Boles and male chorus); and "Heavenly Night (When Evening is Near)" (sung by Boles and Laye). Although these tunes are forgettable, only "My Heart is Beating" stands out as the film's best song. With the song interludes being few and far between, and this being centered as Evelyn Laye's movie, it is Leon Errol who gets most of the attention with his comedy antics. Assisted by Hugh Cameron, amusements include one where they try to fix a Swizzle drink of rum through the instructions of a air-flipping pages book; and the art collection sequence where Cameron attempts to keep the careless Errol from breaking an assortment of china and glassware. Errol gets about two minutes to himself, sans any underscoring, trying in vain to place a stamp onto an envelope to mail. Though hilarious by 1931 standards, these comedy moments may seem long and drawn-out to contemporary viewers. Evelyn Laye is acceptable in her role, quite pretty, singing pleasingly and looking almost like Joan Bennett in her blondish headdress at times. Sadly her American movie career was short-lived. After returning to Hollywood for THE NIGHT IS YOUNG (Metro-Goldwyn-Mayer, 1934) singing opposite Ramon Novarro, it was realized she was better off appearing in British stage revues and music halls instead. As much as John Boles is a very good singer, he would soon abandon his vocalization for work in dramatic roles as STELLA DALLAS (1937) starring Barbara Stanwyck.
For Samuel Goldwyn's only attempt in operetta, ONE HEAVENLY NIGHT gets by on its own merits during much of its 82 minutes. With limited television broadcasts on New York City's WPIX, Channel 11 (1971-1975), ONE HEAVENLY NIGHT, which had a limited video cassette release but to date, no DVD, did have some brief cable television broadcasts such as on Wometco Home Theater and Showtime (1986), Nostalgia Television (1990s) and Turner Classic Movies TCM premiere: November 13, 2008). Virtually forgotten, possibly due to its unfamiliar cast names, namely Evelyn Laye, ONE HEAVENLY NIGHT is an agreeable little piece of early sound operetta from Hollywood's bygone era. (***)
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- lugonian
- May 5, 2019
Details
- Runtime1 hour 22 minutes
- Color
- Sound mix
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