Esta noche o nunca

This film is truly a classic, directed by Mervyn LeRoy. Nella Vago(Gloria Swanson), a young singer, performs an operatic debut in Venice but discovers her reception disappointing. She is critized by her instructor (Ferdinand Gottschalk) claiming her voice lacks warmth and feeling. A mysterious young man stalks her everywhere, (Melvyn Douglas) who is really a talent scout for the Met. The cast with Gloria Swanson("Sunset Blvd." with Wm. Holden) and Melvyn Douglas and Boris Karloff who had gained famed as being the Frankenstein Monster made this film a great success during the early 1930's. Karloff gave a very good performance as a high classed waiter with no horror expressions on his face. It was a great picture during that period of time and is worth viewing.

... and largely succeeds in this Continental romance from director Mervyn LeRoy. Gloria Swanson stars as famous opera singer Nella Vago, the toast of the European music scene who is just finishing a smashing engagement in Vienna. However, some view her style as too technical and lacking real emotion, and so the elusive American market is closed to her. Although engaged to the foppish Count Albert (Warburton Gamble), Nella notices a mysterious male figure that seems to be following her. When Nella heads off to Budapest, she finds that the man, Jim Fletcher (Melvyn Douglas) is on the same train. When she decides to confront him, it may just lead to her finding the emotional footing that she needs. Also featuring Alison Skipworth, Ferdinand Gottschalk, Robert Greig, Greta Meyer, Boris Karloff, and J. Carrol Naish.

Lubitsch had been very successful with a string of European-set romances featuring nobility, artistes, and sophisticates. Sam Goldwyn copies that formula, and while it doesn't all work, enough does to make this worthwhile. Swanson seems an odd casting choice for an opera diva, and thankfully her performances are heard and not seen. Douglas, making his film debut, was carried over from the stage version, and he's perfect. I actually watched this for Karloff, though, who ably plays a small role as a waiter. He was in 14(!!!) movies in 1931, the year of his breakout role in Frankenstein.

From the opening credits (a montage of bird's-eye views of Venice) it's clear that this film about the artistic and romantic ups and downs of a famed opera diva during a career crisis will be a cut above the usual. In addition to Gloria Swanson as the star, we have Samuel Goldwyn producing, a strong supporting cast, Gregg Toland as cinematographer, and costuming by Chanel.

The style and dialogue are sometimes Lubitschian, as if director Mervyn LeRoy had studied "The Love Parade" before shooting. Toland's camera swoops and pans from spot to spot, sometimes in tandem with dialogue and actions relayed from one character to another across the frame. The generally brisk pace sags in places when there is too much talk without wit.

Swanson is beautifully made up and photographed throughout but some of the skimpier Chanel outfits make her look somewhat matronly; she looks best in long shots with the more layered ensembles. The camera makes the most of her closeups, particularly the use of her large eyes. Douglas, repeating his role from the stage, seems to have effortlessly stepped into the role of sophisticated screen star.

Among the visual delights is an extended sequence in which Douglas tosses a bouquet with a note from the street through Swanson's second story window, which provokes conflicting emotions in her character as she retrieves it and then debates within herself whether or how to respond, all without speech. The sequence would have worked perfectly in the silent cinema.

For fans of "Grand Hotel," which post-dates this production, here is a chance to see Ferdinand Gottschalk and Greta Meyer (Garbo's manager and the hotel's housekeeper, respectively) in similar but meatier roles. Gottschalk especially shines. And Alison Skipworth contributes her customary & welcome dash of vinegar.

In Sunset Boulevard, Gloria Swanson said, we had faces then.

Well she sure did! Those eyes! Her expressions! In Tonight or Never, she plays an opera diva lacking the one thing that will make her a superstar - feelings! Since it's 1931 you can interpret that as sexual fulfillment.

As a former opera singer myself, I got a kick out of the opening. It takes place in Venice, and we get to hear a soprano with a voice like Minnie Mouse sing the end of Tosca and go flat on the high note. I am forever stunned at what film considered a Tosca voice. I mean, Jeannette McDonald was another one.

Our diva here, Nella Vago, falls for Melvyn Douglas, in his debut, who is living with a former opera diva, supposedly his "aunt."

The film is talky, with lots of innuendo and a seduction scene that can only be described as old-fashioned. Which since it's 1931, it was.

Swanson's wardrobe is to die for. Douglas is very elegant.

We don't have much of the young Gloria in talkies. And, since it's Douglas' debut, and Boris Karloff isn't playing a monster, I recommend it.

In Venice, opera singer Nella Vargo (Gloria Swanson) is a successful diva although her music coach is dissatisfied with her singing. He tells her that she is not putting her heart into her performances. She becomes intrigued with mysterious admirer Jim Fletcher (Melvyn Douglas) and her heart follows.

For most of this movie, I kept imagining Norma Desmond. In an alternate universe, this could be the prequel to that classic. Swanson and her eyes give a compelling performance although I'm not taken with the character. She's such a diva early on. I don't like her at the beginning and it's hard to get into this.