This Is the Night

Lili Damita sleeps, stretched across a luxurious bed…until a man wakes her up and tells her to move and we discover that she's a struggling actress sneaking some sleep on a quiet movie set. –Appearances are frequently misleading in this witty and ultimately charming comedy of manners, deceit and romance.

A great cast of more or less sympathetic characters surrounds the lovely Damita:

Roland Young and Charlie Ruggles are fine as a pair of wealthy gentlemen of Paris. Young is about to embark on a clandestine Venetian trip with girlfriend Thelma Todd—when her husband, Olympic javelin-thrower Cary Grant, unexpectedly returns home. One lie leads to another, and soon Young has hired an actress—Damita, eager to accept any job—to pose as his wife, and the whole gang boards a train for Venice.

Thelma Todd is excellent as the deceiving wife jealous of her lover's new partner; we don't get to see Todd angry in many of her movies, but smoke positively comes out of her ears here. Cary Grant—very youthful and athletic, bag of javelins slung over his shoulder—has a minor role but is awfully fun to watch (in his first picture).

Roland Young is outstanding as the would-be cosmopolitan lover who can't quite control either Damita or Todd; his face and mannerisms express varying degrees of discomfort, frustration and worry as he struggles to keep multiple relationships from caving in on him.

A hilarious running gag involves chauffeur Irving Bacon repeatedly catching Thelma's dress—in a car door, for example—and accidentally pulling it off.

Overall, it's very funny, with a plot that is tough to predict…and somewhat surprisingly, it gradually turns into a very sweet picture, at that. Very enjoyable, especially for fans of these great character actors—and well worth watching just to see Roland Young and the great Thelma Todd together.

This Is the Night (1932)

*** 1/2 (out of 4)

Hilarious pre-code from Paramount has Roland Young playing Gerald Gray, a man dating a married woman (Thelma Todd). Things take a turn for the worse when the couple return to her home to find her husband (Cary Grant) there and in order to stay out of trouble the man's best friend (Charles Ruggles) tells the husband that the friend is actually married and the happy couple are on their way to Venice. The husband, not a bit fooled, decides to go along on the trip so the friend must find a fake wife (Lili Damita) to go along with the plan. This is a remake of a 1926 film and it's based on the play Naughty Cinderella. The naughty is certainly correct because this Paramount comedy has quite a few pre-code elements that would soon find themselves banned. Needless to say, having a film centered around a married woman dating other men was certainly a no no but it makes for one great laugh after another. After viewing the film I was really shocked to see that it wasn't more popular because the familiar cast is terrific and we get so many sexual jokes that it really stands out. The dialogue certainly implies many dirty jokes including one bit about "B.J." as well as our two lead actresses showing some skin. Of course we don't get any actual nudity but there's a very charming scene of Damita proving she can be naughty by taking her clothes off and coming off like a vixen. There's also a running joke with Todd constantly getting her clothes ripped off in a variety of ways. Both women have their legs constantly being shown as well as every other bit of skin they can get on camera. These elements certainly give the film a fresh touch and a pretty sexual one as well. Then we have the terrific performances that make the film memorable. Damita, who I had just seen in FRIENDS AND LOVERS, is must better here and in fact turns in a hilarious performance. I was really shocked to see how great she was here because her comic timing is right on the mark and she also plays the more dramatic, romantic moments just as well. Her coming timing really makes her character come to life and her previously mentioned seduction scene was priceless. Ruggles nearly steals the film as the silly assistant who gets this whole thing started. Todd delivers one of the best performances I've seen from her as her timing is great and just check out the wonderful scene where her married character gets jealous by her lover's fake wife. Young is also right on the mark and his chemistry with Damita is great. Then we have Cary Grant in his first role. I was surprised to see how natural he was but he plays the jerkish husband to perfection. I think the film starts to wear thin during the final act when every ones love starts to pour out but everything leading up to this is quite priceless. The performances, sexuality and laughs make this a must-see for fans of classic cinema.

Frank Tuttle was a highly competent house director for many years, working for Sam Goldwyn, Paramount and so forth, turning out well-made movies in which the style served the story. In our day of auteur worship and the insistence that, if a critic can't tell who directed a film without looking at the credits, it is not a good film, craftsmen like Tuttle are considered hacks. I disagree. You may disagree with me. We'll leave that unsettled for the moment and thumb wrestle over it later.

This movie has all the earmarks of a Lubitsch picture: the European settings (Paris, Hollywood, which Lubitsch said he much preferred to Paris France; Venice, where he had set the opening of TROUBLE IN PARADISE two years earlier) and is the sort of racy European comedy that Paramount specialized in until the Production Code killed them dead later that year. The setups are all Lubitsch: the recitative number "Madame Has Lost Her Dress" that opens the movie; The sexual imagery of Cary Grant carrying around a bagful of javelins and reducing Roland Young and Charlie Ruggles to blithering idiocy; Thelma Todd in her underwear; and into this mess lands Lily Damita, an honest girl reduced to sleeping on movie sets: trouble in Paris, Hollywood.

Although Tuttle lacks the ability to direct actors in the small, exquisite details that Lubitsch did, he had a fine hand at framing and storyline. The movie is near perfect, except for the miscasting of Roland Young as the love interest..... but perhaps that is the point of the matter: we do not always fall in love with Maurice Chevalier.

Although This Is The Night which is the feature film debut of Cary Grant is an enjoyable enough bedroom farce it probably has more significance as the possible inspiration of one of Paramount's best feature films of the Thirties, Love Me Tonight. This film directed by one of Paramount's more competent contract directors Frank Tuttle plays a whole lot like Rouben Mamoulian's classic. Possibly if Tuttle had better material to work with, this film would be better known.

This Is The Night has Cary Grant as a French Olympic athlete whose sport is the javelin. But apparently he's not spearing Thelma Todd enough and she's casting a roving eye. The eye of Roland Young meets her's and the two plan a holiday in Venice.

To which Mr. Grant arrives and rudely interrupts. Thinking fast on his feet as American Express agent Charlie Ruggles arrives with tickets at Todd's apartment, Young says that he'll be traveling with his wife and once outside frantically looks for a wife. He finds Lily Damita and hires her for a railroad holiday from Paris to Venice. Ruggles goes along as a fifth wheel on this carriage, presumably to catch whoever comes flying off the rebound. As he's soused most of the time, I can't see what appeal he would have. Of course I can't see what appeal he would have sober.

Cary Grant was billed fifth in this film, but in 1932 he gradually went up the billing ladder and by the time of She Done Him Wrong, he's co-starring with Mae West. His debonair charm could barely be concealed in a role which required him to be a bit of a fathead.

Ralph Rainger and Sam Coslow wrote a couple of forgettable songs and it's in the musical numbers that this film bares the closest resemblance to Love Me Tonight. Note the Italian gondolier in the Venice scenes. He gets no billing in the film, but it is Donald Novis one of the most popular singers of the day on radio. In three years he would move to Broadway and play the romantic lead in Rodgers&Hart's Jumbo where he would introduce The Most Beautiful Girl In The World and My Romance. Novis had a wonderful tenor voice as you'll agree if you see this film.

Speaking of Rodgers&Hart maybe if they wrote a score as good as the one they did for Love Me Tonight, This Is The Night would be more remembered than as footnote as Cary Grant's feature film debut.

A slight-but-enjoyable romantic farce, THIS IS THE NIGHT is an entertaining little film that should earn a place in cinematic history simply because it contains the feature film debut of Cary Grant, who soon become arguably the most famous movie star of all time. Although he is regulated to playing a largely secondary character, Grant's incomparable screen presence makes him a standout from the very start. Playing an Olympic athlete, Grant makes his entrance into the world of cinema with a light step and a sharp wit - singing about apartment keys, no less! It's a memorable debut, and there are numerous other moments throughout the picture in which Grant demonstrates much of the early promise that would soon flower into full-throttle, megawatt star power in just a few short years.

As for the rest of the film, it is a reasonably solid comedy of adulterous affairs, with some surprisingly risqué elements that were permitted in the days before the Production Code was heavily enforced due to pressure from the National Legion of Decency in l933. The film begins delightfully as a light comedic ballet, with director Frank Turtle providing some truly madcap slapstick and even recitative singing that sets the viewer up for a knockabout farce. Unfortunately, this progressively free-wheeling atmosphere is largely abandoned in the film's last half, which plays out in a more or less predictable manner. The film still holds up perfectly well, however, until the too-conservative ending, which is a big disappointment after over 70 minutes of uninhibited fun.

On the plus side, the film is very well cast, and the actors manage to keep the picture engaging even after the initial momentum of the exhilarating first-half is long gone. Although she makes somewhat of an delayed entrance, Lili Damita brings both pluck and intelligence to the female lead, Roland Young makes the transformation of his somewhat unsympathetic character highly believable, and both Grant and Charles Ruggles offer top-notch support. The lovely Thelma Todd also makes the most of a rather bland role, and her talent for making a relatively thankless character seem genuinely inspired serves as a bittersweet reminder of yet another comedic great that was taken from us way too soon. In the end, THIS IS THE NIGHT is far too inconsistent to ever be considered a great movie, but it sure is a lot of fun!