Evenings for Sale

Count Herbert Marshall, former captain of His Imperial Majesty's Guards, is broke and unable to pay any of the bills of his family castle in Vienna. He plans to shoot himself tomorrow, but tonight he has a costume ball to attend. There he meets Sari Maritza incognito, and they fall in love. There he also meets his former batman, Charlie Ruggles, who arranges a job for him as a gigolo at the popular cafe he works at. Into this mix comes Mary Boland, a wealthy, unworldly widow from Maryville USA. She has come to Vienna and wants to go the Moulin Rouge. She winds up the cafe where Marshall works and is impressed with his demeanor and his sad story, when Miss Maritza, her father George Barbier and her loutish would-be fiancee come in for the express purpose of humiliating Marshall. He refuses to be humiliated. Indeed, he picks up the bill for Miss Boland, who doesn't realize he is a gigolo.

Director Stuart Walker wasn't up to the Lubitschian standards this movies sounds like it calls for, but that's not the purpose. Marshall is a realist with a stubborn streak of romantic pride; Miss Boland is a kind, generous woman who only regret is that none of these things happened to her when she was young. Ruggles keeps spreading misinformation, hoping to land Miss Boland and her ten million dollars -- not schillings! -- for Marshall, with a good job for himself. These four people are quite nice (except for Miss Maritza, who is upset and angry) in this very pleasant movie.

Count Herbert Marshall (Franz) faces a dilemma. Should he kill himself or go to a party? Well, that party was a good choice because he meets Sari Maritza (Lela) and falls in love. He also gets a job. As a gigolo. He goes to work and has a price list for various activities - it's a well organized gigolo outfit that he works for. This is where he meets wealthy widow Mary Boland (Jenny) who falls in love with him. Several misunderstandings and blunt conversations later and the film has a happy couple. But who are they?

I wish the happy couple were a different combination - one that involved the Count's valet Charles Ruggles (Bimpfi). The cast are ok in this comedy although Sari does make some strange decisions and seems to be a bit of a horrid character. Kudos to her, though, as pretty soon after this film, she quit acting recognizing the fact that she couldn't act. Ha ha. Well done, girl. Unfortunately, that doesn't help this film. Marshall is also a bit grumpy in this. It's a comedy with an amusing subject matter but needed a better ending. It lacks the true romance that should have been played out between two of the other characters.

isn't it romantic.. yes it is..

i was quite surprised by this movie. its not a milestone, nor the greatest movie ever made.. but it is good. the whole plot is not highly original, and the whole 30 minutes in the middle are quite forgettable. Sari Maritza, well, don't be surprised if you never heard of her, in her case there's a good reason for it.

anyway, there's Herbert Marshall and Mary Boland. the scenes between them are fresh, modern and interesting. Herbert Marshall, well, i never knew how attractive he was, until i saw him in this movie.

some impressive camera work and the MOST BEAUTIFUL MOVIE KISS that i ever hope to see make this movie a definite must.

Herbert Marshall, in his follow-up to TROUBLE IN PARADISE, stars as an impoverished Count who finds the girl of his dreams (Sari Maritza) the very night his former butler (Charlie Ruggles) gets him a job as a gigolo. She finds out what he does and isn't happy and the ditzy rich dame he's "romancing" (Mary Boland) doesn't find out and couldn't be happier.

A masked ball, a Viennese castle, "The Blue Danube", a duel... all the ingredients are there and "The Lubitsch touch" might have turned this romantic trifle into a risqué soufflé but, alas, it is what it is.

"Fair entertainment but extremely doubtful on the draw." -Variety

Paramount superstar Mae West once quipped, "Too much of a good thing can be wonderful" and the studio must have taken it to heart when they signed Sari Maritza in 1932 as the new Marlene Dietrich when the troublesome Teuton insisted on working only with director Josef von Sternberg. The NY Times hailed Sari as a "vivacious Continental actress" but when it came out she was English (born Dora Detering-Nathan in China to a British Army officer and his Austrian wife) the public resented the ruse and "stayed away in droves". Unperturbed, Ms. Maritza upped and married MGM producer Sam Katz and retired from the screen in 1934.

This starts off with wealthy American widow Mary Boland heading off for Vienna with a headful of 'The Merry Widow'. Meanwhile broke aristocrat Herbert Marshall is contemplating suicide but ends up romancing Sari Maritza at a masked ball, even though she is engaged - sort of - to portly Bert Roach. Marshall is then given the chance of a job as a professional dance partner at a nightclub run by his family's ex-butler.

Marshall shows a very strong streak of pride when offered another job (these jobs - so plentiful!) by Maritza's father and instead becomes rather friendly with the by now lonely Boland who has turned up at the place. A fair number of confusions keep the plot going, and Boland's usual soulmate Charles Ruggles is on hand as Marshall's old batman and current savior.

Attractively put together, this one had some criticism because it wasn't Lubitsch, but the old boy was pretty busy in 1932.