Una notte d'oblio

It's a wild party all right, with a lot of content that would curl the hair of the average movie- goer nowadays. While we in the 21st Century have been brutalized to boredom by the sight of a person's entrails being blown via shotgun blast onto the walls like some kind of macabre Rorshach, these folks would have been mortified at such a sight. But abuse people? While mid-party, even before the first piece of significant action, we are treated to profligate drinking, both individual and group (You have to see this to believe it.), impaired driving, racism (The most embarrassing and shamefacedly tacky minstrel-take-off I've ever seen!), vandalism, reckless endangerment, resisting arrest and dangerous driving.

Notwithstanding, the movie is an instructive social exhibit of a time when, during the depth of the worst depression in history, these brutes marauded carelessly while the world burned around them. Never has a house staff been so clearly cast as in utter disgust of their employer's very existence.

Overall, a terrific example of its time. Fun, too, even if it's darn near too nasty to live.

Despite its mixed critical reception and box-office failure (when it premiered at the Pantages Theater in Hollywood, a place which I passed on several occasions while I was there a few months ago), this is one of director James Whale's favorites among his own films. It's a cross between screwball comedy and murder mystery and plays almost like a zanier version of THE THIN MAN (1934).

The first 20 minutes are totally insane depicting a wild society party in full bloom, where eternally tipsy socialites are seen sipping champagne through straws from a large bowl and knocking off trays full of glasses just for the hell of it - besides indulging in some very politically incorrect behavior by, among other things, continuously humiliating their uptight and openly contemptuous English butler and dancing around in blackface! The pacing sags here and there but, overall, it's a disarmingly hilarious concoction with a frenzied stream of verbal gags which is often hard to keep up with; in light of all this, the intricate plot with its many red herrings and variety of suspects (including a rather surprising villain) seems of secondary importance.

Whale also cheekily inserts a couple of in-jokes (and at least one overtly gay reference) at the expense of his past horror output by name-dropping the likes of THE BLACK CAT (1934), BRIDE OF FRANKENSTEIN (1935) and DRACULA'S DAUGHTER (1936). Interestingly enough, the film was shot very quickly during a delay in the start of production of Whale's subsequent film, SHOWBOAT (1936) - which had arisen so as to give time to Irene Dunne to finish shooting another major Universal production of the time, MAGNIFICENT OBSESSION (1935) - and, in the first place, Universal had only reluctantly greenlighted REMEMBER LAST NIGHT? once Whale had agreed to do DRACULA'S DAUGHTER in return (more on this later)!!

The film is highlighted by a bizarre hypnosis sequence in which Prof. Karl Herman Eckhardt Jones (Gustav von Seyffertitz) attempts to induce the party guests to recall the events of the previous night because they're all too hungover to do it by themselves! The elaborate décor courtesy of top Hollywood set designer Charles D. Hall (including a life-size barge for a bar!) gives the film a visual stylishness strikingly akin to Whale's magnum opus BRIDE OF FRANKENSTEIN.

REMEMBER LAST NIGHT boasts a sharp and witty script - co-written by Dan Totheroh of THE DEVIL AND DANIEL WEBSTER (1941) fame - and a great cast of character actors with the delightful Constance Cummings - real-life wife of Whale's THE OLD DARK HOUSE (1932) scriptwriter, Benn W. Levy - Edward Brophy (hilarious as a "reformed" safecracker turned amateur sleuth and busy body) and Arthur Treacher (the befuddled butler, of course) standing out in particular. It's also worth noting that Whale managed here to fill out his cast list with several other vintage horror regulars like the aforementioned Brophy and von Seyffertitz, Robert Armstrong and Rafaela Ottiano, not to mention his own fixture, E. E. Clive! Besides, there's also a priceless uncredited bit from frequent Laurel and Hardy foil, Tiny Sandford as a disgruntled truck driver.

Sadly, this has only been the second (or is that third?) non-horror James Whale film I've watched (although I should be adding two more before long) but it does make you wonder whether the time has come for Universal to honor one of its most eminent past film-makers with a "James Whale Collection" DVD Box Set. All those in favor, raise their hands now!

An enjoyable stylized film directed by someone who really put his mark on his films (James Whale). There is even a satire on one of his films as Constance Cummings says to Robert Young, "I feel like the 'Bride Of Frankenstein' ". Edward Arnold was terrific as always. Robert Young never did a film where he wasn't good. Out of the 100 films he did he was always great. Young actors should study him and watch his films from the beginning of his career and watch his talents grow. Edward Brophy brought in the comedy relief and also never disappoints. Robert Armstrong as the 'Driver' has come down to be an underrated actor, was also great. Sally Eilers was also a great comic-dramatic actress. The other supporting actors including Reginald Denny, Arthur Treacher, Jack LaRue, Gregory Ratoff, Dewey Robinson, E.E. Clive were wonderful. We don't have these wonderful character actors today. They made each picture very special,including this one.

When I saw the opening credits announcing "A James Whale Production," I thought - yes, there will probably be outsized and grotesque sets, just like in Frankenstein. I wasn't mistaken. The weird decor of the house and restaurant where the action takes place is a movie in itself. The entire film plays like one big in-joke, like the sorts of things film studios put together to show to employees at Christmas parties.

But that doesn't mean this movie isn't funny, and enjoyable. The two lead characters are the boozy, over the top kind that you know are going to get into more trouble than they can handle. To me, they were sort of a combination of Nick and Nora Charles, and Scott and Zelda Fitzgerald. Their wild party was one of the wildest you'll ever see on film, and no nudity or foul language, either. Of course, there is the matter of that really tasteless, racist bit at the party. I suppose in 1935 some would have considered that funny, but it is painful to watch.

I really liked Constance Cummings. The only other thing I've seen her in is Blythe Spirit. She was very good here in a screwball mode, and she was cute and perky without being obnoxious about it. Robert Young was winning as her not very much more sober and serious husband. The whole mystery with all the suspects in one house thing was pretty silly, but I really think it was supposed to be. This film is to be viewed with tongue in cheek. It's a joke, and a funny one. It has all the stock characters you would expect to find in such an old-fashioned mystery - the rich and careless, the hardbitten law, the ex-con and suspicious (but innocent) servants, and that great, supercilious, snooty butler. Arthur Treacher was the master of that genre. I thought it was hilarious the way he made all those snide comments whenever he turned his head from his employers. The dialog is really very funny, and goes by fast, but not too fast.

I thought the funniest scene by far was where the hero is racing his car to get home, and he almost collides with a truck at a road construction site. The truck driver lets loose a stream of curses, without actually uttering any four-letter words. And listen carefully for the very last thing he says -- well, I won't give it away -- it caps the whole scene and makes it even funnier.

This odd item is sandwiched chronically between two of my favorites within their genres: It came right after my favorite horror movie, "Bride of Frankenstein" (to which its lead character alludes.) And it was right before my very favorite musical, Whale's heartbreaking "Show Boat." It has a great cast. Conusance Cummings, whom I saw on Broadway four decades later in a Tony-winning role in "Wings," is a delight. Robert Young is not the husband I'd see her with but he's fine. Edward Arnold, the friend who's called in to solve a murder or two, is one of my favorites. Jack La Rue is handsome and mysterious as a chauffeur and Arthur Treacher is very funny as the butler.

The movie captures Jazz Age rich people's lives better than almost any other I can think of. "The Wild Party" has it too. Young and Cummings drive a gorgeous Bugatti. They resemble the couple in "Topper" to some degree but they're more dissolute; the script pushes their charm on us less. It's all Champagne, furs, swimming pools, antiques, and lots of flirtation with danger.