One Heavenly Night (1930) User Reviews

Commoner meets royalty - wonder how will it turn out..

[ksf-2 · 5/10 · 14 November 2008]

The problem with One Heavenly Night is that it tries too hard to be a little of everything, and can't make up its mind what it wants to be. We have the coy, demure Evelyn Laye as Lilli and the tall, dark, and dashing Count Tibor (John Boles) chasing each other around in a mansion, and out in the rain (although Lilli's hair and dress don't seem to get very wet after running through the pouring rain...) Lilli pretends to be Fritzi, a famous entertainer. Then, for a time, its also a comedy with Leon Errol as Otto, who gets drunk and silly with the Count's house manager, as they discuss the wine room and drinkies. These routines scattered about really slow the movie down. Then Lilli and the Count do a GREAT job singing to each other, in Jeanette MacDonald, Nelson Eddy operatic style. This 1931 Goldwyn production is made just before the Hays movie code came riding in, and TCM showed it at midnight, just in case. There are some suggestive songs, but no blatantly improper scenes which were so common in movies made at this time. Surprisingly good quality sound and photography. The plot is a little hit or miss, but not a bad way to spend 80 minutes. No surprises in this one...

One heavenly song...

[AlsExGal · 5/10 · 15 October 2020]

... but the rest of the film and the music? Not so much. Ultimately the entirety is less than the sum of its parts. This was one of those operattas that made musicals go out of fashion in 1930-1931 for a couple of years and put Samuel Goldwyn off of making musicals for decades, other than his always successful Eddie Cantor musicals of that early sound era.

A cabaret singer, Fritzi (Lilyan Tashman), is run out of town because of all of the wildness she causes. She is supposed to be exiled as a "guest" of the magistrate, but instead convinces flower girl Lilli to take her place, since nobody where she is going knows what she looks like. Meanwhile, the magistrate (John Boles as Count Mirko Tibor) is licking his chops at having sexually frisky Fritzi in his house for an extended period. Now Lilli just wants an opportunity to be what she is not - Fritzi. How will she react when the count starts chasing her around the furniture expecting her not to run? Watch and find out.

The casting here did work, John Boles was a great voice and a great presence in these early sound musicals. Lilyan Tashman was the older classier version of Jean Harlow, if you can compare her to anybody. She always has a grin on her face like she knows a secret nobody else suspects, and she is just perfect for this part where she never loses her poise and is always ready with a wise crack. Evelyn Laye was a great singer and plays her part as the virgin trying to play a vamp quite well. Leon Errol plays Lilli's uncle and the comic relief. The situation and the characters sound great on paper, but ultimately it is just boring. There are extended scenes that go nowhere, and somehow they are trying to use Leon Errol to pad the plot with scenes that look like stuff that would be better suited to the Three Stooges - any of them - than Errol.

Watch it for the great number where Laye and Boles sing the title song which is truly beautiful, for the humorous scene where the two sing to each other in a pounding rainstorm, and for what passed for law and order in Eastern Europe at the time...Why is it Fritzi's problem that a riot broke out among a bunch of men over her charms? Why are they not in jail? If Fritzi was under arrest, how did she wind up legitimately sentenced without some kind of chain of custody where one person can't easily replace another? You can ponder these questions but, alas, no answers are ever given.

why musicals became unpopular in 1930

[mukava991 · 3/10 · 17 November 2008]

This original operetta was a flop in 1930 and still is, despite good production values (no surprise, with Goldwyn as producer) a shimmering leading lady (Evelyn Laye) and a fun supporting turn by Lilyan Tashman. The songs by Clifford Grey, Herb Nacio Brown, Edward Eliscu and Bruno Granichstaedten are mildly pleasant, nothing more, and a musical with a boring book (by Sidney Howard, of all people!) needs superior songs to float, and these second- rate numbers don't help. Finally the enterprise sinks completely during long and tiresome slapstick routines performed by Leon Errol. Sometimes the viewer wonders whether this production was meant to be a conventional operetta or a variety show. John Boles as the romantic lead exudes more energy than in his straight dramatic roles and sings well, but not often enough to put a dent in the tedium. Students of cultural history will find this film interesting as an example of why screen musicals became unpopular for a time. It's too bad Laye had to be in a turkey for her American sound film debut. She had everything it took to be a major player.

The Count And The Flower Girl

[bkoganbing · 3/10 · 16 April 2010]

Evelyn Laye who was one of the great musical performers of the London stage made only a few films at this point of her career and this one being only one of two she did in Hollywood. Later on as a character actress she did much work on the big and small screen. This rather uninspired vehicle does afford one an opportunity to see her in her prime.

Sam Goldwyn who produced it knew he had a turkey on his hands, it is fairly obvious that a full musical score was written for this and numbers must have been cut right and left. It didn't help too much.

The plot is similar to something Laye's American contemporary Marilyn Miller might have done on stage. Laye is a poor flower girl working in a theater in Budapest. The star Lilyan Tashman who is a wild child causes a riot and is ordered out of town. Laye agrees to go in her place and Tashman decides to hide out.

But the local lord of the place she's exiled to, Count John Boles who is also the police prefect is a bit of a rake and he's planning a little fun and frolic because he's heard of Tashman's reputation. Laye who really likes what she sees in Boles is kind of torn as to how to behave, be her good girl self or be the party animal Boles was expecting.

Leon Errol is in this film as Laye's friend and confidante and you know how bad the film is because Errol's famous drunk act takes up a lot more footage than normal. Leon Errol was a fine performer, but not in the dose we got here. Errol's comic relief becomes the show.

For those who like Eddy/MacDonald operetta even they will be bored with One Heavenly Night.

Speaking of Jeanette and Nelson, Evelyn Laye was in the original cast of Bittersweet on stage. Now if she had filmed that it would have been worth preserving.

Like a pickled herring, this does not get better with age!

[planktonrules · 2/10 · 22 December 2008]

During the 1930s, there were quite a few god-awful musicals that are awfully hard to stomach today. That's because unlike other musicals, the songs were almost operatic in style and high-pitched warbling abounded. Now you probably are immediately reminded of Jeanette MacDonald and Nelson Eddy's films, though there were some that came out before theirs that were actually far more difficult to stomach--the films were so old fashioned and the singing so dreadful. Oddly, the studio heads even placed Laurel and Hardy in a few of these musical monstrosities--they were that popular an 'art' form at the time.

Here in ONE HEAVENLY NIGHT, we've got all the makings of a terrible old musical. The singing is among the most high-pitched and ear-shattering, the songs are dull, the acting (at times) is suspect, the film features comic relief (Leon Erol) that isn't all that funny and the love story is rather creepy.

Let's talk about the love story for a moment. The film begins with a not especially attractive lady singing a song rather poorly. Yet despite this, the men in the audience respond like she's "Swing Shift Cinderella" (from the Tex Avery cartoon) and begin hooting and hollering and acting like horny dogs. After a riot, the police order this sex kitten out of the city but instead she sends a similar looking friend. This friend (Evelyn Laye) has dreamed about the life of a vamp and she's quick to agree to the masquerade. However, the vamp's reputation proceeds her and the Count in the town she arrives in assumes she's an easy sexual conquest. When he practically rapes Laye (great name, huh?), she runs off and realizes she doesn't want to be a vamp! Yet, oddly, later the Count realizes he actually loves Laye and wants to marry her, not just lay Laye. And so the two kiss and live happily ever after! Aside from promoting date rape, this plot is really, really hard to believe and is made all the worse by the couple periodically breaking into song.

Overall, the idea behind the plot isn't bad but the execution and romance are so god-awful I can't recommend the film.

A case of mistaken identity and crisis of virtue.

[Silents Fan · 7/10 · 15 June 2000]

Evelyn Laye portrays Lilli, a simple virtuous girl, who masquerades as Fritzi (portrayed by Lilyan Tashman), the notorious showgirl when the later is ordered out of town by the chief of police. Count Mirko (played by the wooden John Boles doing his best Al Gore imitation) comes to town just to make love to Fritzi and is nonplused to find that she does not readily surrender her charms to him. Lilli does her best to carry off the masquerade without losing her virtue to the Count. Leon Errol performs a "funny" drunk routine that he must have brought with him from vaudeville and which has absolutely nothing to do with the rest of the film. To virtually no one's surprise, the real Fritzi returns while Lilli's virtue is still intact, Count Mirko and Lilli fall in love, and they all live happily ever after. Anna Karenina this ain't, but it can be a pleasant evening's diversion if your expectations aren't too high.

Gay Old Times on the Hungarian Plains...

[Forn55 · 2/10 · 22 September 2011]

"Caught in her Own Love Trap... she could not stem The Fury of His Love!" screams the poster that was used to advertise this 1930 musical/operetta. If only it were true... Even though elegantly produced by Samuel Goldwyn, "One Heavenly Night" became one of the big flops of the year and the passing decades have not been kind to it. This "talkies" screen debut of West End singing star Evelyn Laye was obviously intended to launch her on a musical film career in Hollywood, but both critics and audience rightly perceived the flick as a turkey, and Miss Laye's career as a screen song siren never materialized. In fairness to the lady, it's difficult to imagine what vocal and thespian powers she might have drawn upon to overcome the stale script, the so-so music, and the stilted performances of her co-actors (including John Boles and a painfully unfunny Leon Errol). It's nice to know that -- after being bruised by Tinseltown -- Evelyn Laye returned to a long and highly successful career on the British stage and died in the 1990's, much loved and appreciated by her audiences, at the ripe old age of 95. As for "One Heavenly Night," if you get the opportunity to see it... don't...

Masquerade in Zuppa

[lugonian · 7/10 · 5 May 2019]

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. (***)

Really bad

[richard-1787 · 1/10 · 9 October 2020]

This movie has a very low rating on here. Unfortunately, I think 4.9, while bad, is still too high. This is really a bomb.

Not because of the leads. Boles and Lynne were both very attractive, sang well, and probably could have acted decently if they had been given anything even vaguely resembling a good script.

But this script is awful, really awful. The characters are dislikable, the dialog is bad, etc.

And there is NO good music in this movie, despite the fact that there are a lot of musical numbers. It ends, inevitably, with the lovers in each others' arms, but we don't even get a final duet.

In short: skip this. There just isn't anything here worth watching.

A charming bit of froth

[Gerald-5 · 9/10 · 27 February 2002]

I was just two years old when this was made - an early talker (me, not the film!!). Tonight, I was in a mood for lighthearted escapism, and this suited my mood down to the ground. A truly charming bit of fairy tale froth. An operetta by any other name. Not one little hint of nastiness or sordidness.

Oh my, why to they not make films like this now

Enchanting music.... one of the last of Hollywood's first wave of musicals 1929-1931

[salvidienusorfitus · 10/10 · 1 January 2018]

Evelyn Laye and John Boles are absolutely charming. The musical sections are quite beautiful my only complaint is that there isn't enough music. Much of the music seems to have been tragically cut out of the film before release due to the public's untimely distaste for musical at the time of the release of this film. By the time musicals became popular again, operettas of this classy type had unfortunately gone out of fashion. Rare chance to see one of the last of the first wave of musicals (1929-1931) from Hollywood (and in my opinion, it's best and most tasteful period). By the time the second wave came in 1932, musical films too a decidedly more low-brow approach with more emphasis being given to low comedy as opposed to classy tasteful music.