Uma Noite de Amor

This is my second viewing and it still remains one of the greatest musicals I have seen. I would definitely put it in my top ten favorite musicals of all-time. "One Night of Love" is not just a bubbly Grace Moore vehicle – it's a classic example of elegant 30s musical made with vigor and conviction. One viewing just won't do to fully enjoy it.

Exuberantly directed by Victor Schertzinger with some lavish sets, "One Night of Love" takes us into the enchanting world of opera, with all its joys and pleasures, difficulties and heartbreaks. Moore previously made two MGM movies, both of which were commercial disappointments. Then in 1934, Columbia Pictures gave the famed opera diva another chance; to their surprise, it scored a huge success and was ultimately nominated for some Oscars.

The film genially mixes popular ballads and grand opera. Moore is very beautiful and is endowed with a strong, haunting, and remarkably talented opera voice. In this film, Moore is aided by Tullio Carminati who plays her mentor and romantic interest. Her final performance at the Metropolitan Grand Opera packs a stirring punch.

This is an uneven film, and there's lots wrong with it, some of which has been mentioned by other reviewers.

Rather than rehash all that, what I wanted to mention was the naturalness that Moore sometimes brings to her musical performances, a naturalness that makes them very engaging. The most notable case is probably Ciri-ciri-bin, where you can actually imagine the restaurant crowd joining in, so unpretentious is the whole thing. Some of the opera excerpts have that same quality, at least at times.

Some of that comes from Moore's stage personality, which at times does come off as the girl next door. Some of it, however, comes from the fact that her voice, at that point, was rock-solid and capable of remarkable things. In many ways, she was like a female Mario Lanza: she had the raw gift, she just didn't always put in the necessary work to bring it under control. Nevertheless, she goes sailing through some of her numbers with clear joy because she knows the notes will be there.

As I said, there are lots of problems with the movie. At times, her character seems like an interesting feminist willing to sacrifice to have a career. At other times, that all goes out the window.

The music is good here, and some of the performances at least partially captivating. Not a great movie, but one worth watching, at least once.

I have such lovely memories of Grace Moore in this movie which I first saw in 1968. I liked her subsequent films with Franchot Tone (The King Steps Out)Cary Grant (For You Alone) and Melvyn Douglas (I'll Take Romance) but One Night of Love is my favourite. I have a precious video copy from TV but hope Columbia will release it on DVD soon so that many more folk will perhaps share my liking for this singer who wasn't much of an actress but somehow in this film the character fitted her. And her singing is first class - her "One Fine Day" is so moving. Tullio Carminatti is very good as her singing teacher whom she falls in love with. Grace tragically died in a plane crash in 1946. Who knows, maybe Columbia will give us a box set of these 4 of her films.

One Night of Love proved to be a successful comeback picture of sorts for Metropolitan Opera Star Grace Moore. Having not established herself at an earlier outing in Hollywood with MGM, Harry Cohn and Columbia got her back with this film that showcased Moore's magnificent voice.

The film is your usual backstage story only with an operatic twist. Moore is an aspiring opera singer and as the picture opens she's singing the title tune which became a big hit at a radio station contest. The prize is a scholarship to study in Italy. Believe it or not, Grace Moore doesn't win, but she's determined and with her meager savings she goes to Italy and studies to become a great opera diva.

Along the way she gets involved with two men, voice teacher Tullio Carminati and American expatriate Lyle Talbot. Carminati also has a witch of an ex-pupil/girlfriend he's trying to dump, deliciously played by Mona Barrie.

But this is Miss Grace Moore's film and that's how she is billed here and would be for the rest of her film career. Grace Moore, who's all but forgotten today except for devoted opera fans, conquered four areas of entertainment; recordings, stage, grand opera, and finally film.

She was the best selling classical artist of her day. On Broadway in Irving Berlin's Music Box Revues she introduced several of his standards, most importantly the song Always. Her buxom beauty (she was a full-figured gal before Jane Russell made bra commercials) helped popularize opera for the masses. And after failing with MGM she finally did become a film star with this film.

Moore set off a couple of copycats in Hollywood with her success. 20th Century Fox signed Lily Pons and Paramount inked Gladys Swarthout to film contracts. Both these ladies fine singers that they were, never achieved even the limited success Moore had. The problem with signing opera singers is that you have to have them singing opera to show off their talent. That has a limited appeal and Moore too was finished in Hollywood in four years.

The film is curiously autobiographical in the same way Mario Lanza's That Midnight Kiss is. Moore plays a small town girl who wants to sing opera, just like the real Grace Moore. How often will the public go to see an opera singer, even a great one, play an opera singer? Moore played versions of Mary Barrett for the rest of her film career at Columbia.

Still the original is a tuneful treat. In addition to the title song and several arias, Moore also sings Ciribiribin which was a favorite song always requested at concerts and even at encores of her operatic performances.

After losing a radio contest, operatic singer Grace Moore (as Mary Barrett) decides to go to Italy and perfect her craft. Already quite impressive, she uses her vocal skills to win friends and influence the rent-collecting landlady. Working at a café, Ms. Moore meets singing maestro Tullio Carminati (as Giulio Monteverdi) and agrees to become his pupil. They move in together but agree not to have sex. "Business and love do not mix," asserts Mr. Carminati, who relinquished himself of attractive Mona Barrie (as Lally) when she wanted to make love...

The rejected woman re-enters the picture and handsome Lyle Talbot (as Bill Houston) is also around. He would like to marry Moore. All of this fluff is meant to showcase Moore, who acquits herself well after some less than blockbuster films for MGM. Moore received an "Oscar" nomination for her starring role. The "Academy" and "New York Times" also lauded co-star Carminati and director Victor Schertzinger. Moore's closing number is a highlight.

***** One Night of Love (9/5/34) Victor Schertzinger ~ Grace Moore, Tullio Carminati, Lyle Talbot, Mona Barrie