Tonight or Never

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.

Gloria Swanson proves easily here what a good talkie actress she could have been. She is funny and charming, and dressed superbly by Coco Chanel. Melvyn Douglas works well with her, but there is way too much chatter in this adaptation from a hit stage play. The screen-writers didn't seem to realise the kind of expansion they needed to give the piece to make it cinema rather than a filmed stage play. Still, in the lovingly restored print from UCLA that is on the DVD, the film looks great - as does glorious Gloria!

... 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.

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.

Gloria Swanson was a great star and her talkie films of the early 1930s were vastly underrated. Tonight or Never is a nice comedy that pits opera star Swanson against maybe gigolo Melvyn Douglas. She's a great singer but she lacks passion because she has never been in love. Douglas is the protégé of a countess (Alison Skipworth), but is secretly in love with Swanson.

Swanson is wonderful, even though she does not sing--a major fault of the film--as the naive opera star. Douglas is suave; Skipworth is (as always) hilarious. And Ferdinand Gottschalk is wonderful as Swanson's teacher.

Swanson should have had a major talkie career. She made the transition in the smash hit The Trespasser and made a series of delightful talkies before she hung it up in 1934. Her voice is so wonderful. It's ironic that a silent star would have such a terrific voice. As in Indiscreet, Swanson proves to be a star actress----one of the greats.

Robert Greig, Greta Meyer and J. Carroll Naish co-star. And remember the motto: our spaghetti is longer than our name!