Uma Noite Sublime

I was just two years old when this was made - an early talker (me, not the film!!). Tonight, I was in a mood for lighthearted escapism, and this suited my mood down to the ground. A truly charming bit of fairy tale froth. An operetta by any other name. Not one little hint of nastiness or sordidness.

Oh my, why to they not make films like this now

Evelyn Laye portrays Lilli, a simple virtuous girl, who masquerades as Fritzi (portrayed by Lilyan Tashman), the notorious showgirl when the later is ordered out of town by the chief of police. Count Mirko (played by the wooden John Boles doing his best Al Gore imitation) comes to town just to make love to Fritzi and is nonplused to find that she does not readily surrender her charms to him. Lilli does her best to carry off the masquerade without losing her virtue to the Count. Leon Errol performs a "funny" drunk routine that he must have brought with him from vaudeville and which has absolutely nothing to do with the rest of the film. To virtually no one's surprise, the real Fritzi returns while Lilli's virtue is still intact, Count Mirko and Lilli fall in love, and they all live happily ever after. Anna Karenina this ain't, but it can be a pleasant evening's diversion if your expectations aren't too high.

ONE HEAVENLY NIGHT (United Artists, 1930), directed by George Fitzmaurice, was producer Samuel Goldwyn's contribution to the early talkie operettas. Following the pattern of MGM's Grace Moore, Warner Brothers' Bernice Claire or Vivienne Segal, or Jeanette MacDonald of Paramount, Goldwyn went on to introduce to the American screen the singing British entertainer by the name of Evelyn Laye (1900-1995). Appearing as her male co-star is the singing talent of John Boles (1987-1969), whose earlier contribution to the movie musical consisted those of THE DESERT SONG (Warners, 1929), RIO RITA (RKO, 1929), CAPTAIN OF THE GUARD (Universal, 1930), and several others before musicals of any way, shape or form became box-office disappointments. Though produced in 1930, and released in early January 1931, ONE HEAVENLY NIGHT came late into the cycle to be considered a success.

Set in Hungary, the story opens at the Cafe Budapest where Fritzi Yves (billed Fritzi Yajos) (Lilyan Tashman) entertains with her rendition of a naughty song. Being labeled "The Toast of Budapest," Fritzi, quite popular with the male population, ignores a handsome young soldier for her middle-aged guest, Baron Zagen (Lionel Bellmore). A fight ensues leading to a riot, police raid and Fritzi's arrest. Remaining behind is Lilli (Evelyn Laye), a flower girl at the cabaret who admires Fritzi's carefree ways. Upon her release, Fritzi is sentenced by the Prefect of Police to spend six months where she is to rest in the country chaperoned by some local magistrate of Zuppa. Before leaving, Fritzi visits with Lilli and talks her into masquerading as herself while she remains behind with Baron Zagen. Accompanied by Otto (Leon Errol), her guardian, Lillie, posing as Fritzi, spends her time in a villa which happens to be near the estate of Count Mirko Tibor (John Boles), the magistrate and ladies' man who very much wants to meet this notorious "worst woman in Budapest." He finally does after her horse she's riding on happens to cross over the boundaries onto his estate. Getting acquainted with him at his dinner gathering, with his manservant, Janos (Hugh Cameron) entertaining with Otto elsewhere, Mirko, who has kept his identity secret, finds it strange how this notorious "Fritzi" doesn't appear to be what her reputation describes. Also in the cast are Marion Lord (Liska); George Bickel (Papa Lorenc); Henry Kolker (The Prefect of Police); and Luis Alberni (The Violinist).

Songs featured include: "I Belong to Everybody, Everybody" (sung by Lilyan Tashman); "Along The Road of Dreams" (sung by Evelyn Laye); "My Heart is Beating" (sung by Evelyn Laye and John Boles); "The Goodnight Serenade" (sung by Laye, Boles and male chorus); and "Heavenly Night (When Evening is Near)" (sung by Boles and Laye). Although these tunes are forgettable, only "My Heart is Beating" stands out as the film's best song. With the song interludes being few and far between, and this being centered as Evelyn Laye's movie, it is Leon Errol who gets most of the attention with his comedy antics. Assisted by Hugh Cameron, amusements include one where they try to fix a Swizzle drink of rum through the instructions of a air-flipping pages book; and the art collection sequence where Cameron attempts to keep the careless Errol from breaking an assortment of china and glassware. Errol gets about two minutes to himself, sans any underscoring, trying in vain to place a stamp onto an envelope to mail. Though hilarious by 1931 standards, these comedy moments may seem long and drawn-out to contemporary viewers. Evelyn Laye is acceptable in her role, quite pretty, singing pleasingly and looking almost like Joan Bennett in her blondish headdress at times. Sadly her American movie career was short-lived. After returning to Hollywood for THE NIGHT IS YOUNG (Metro-Goldwyn-Mayer, 1934) singing opposite Ramon Novarro, it was realized she was better off appearing in British stage revues and music halls instead. As much as John Boles is a very good singer, he would soon abandon his vocalization for work in dramatic roles as STELLA DALLAS (1937) starring Barbara Stanwyck.

For Samuel Goldwyn's only attempt in operetta, ONE HEAVENLY NIGHT gets by on its own merits during much of its 82 minutes. With limited television broadcasts on New York City's WPIX, Channel 11 (1971-1975), ONE HEAVENLY NIGHT, which had a limited video cassette release but to date, no DVD, did have some brief cable television broadcasts such as on Wometco Home Theater and Showtime (1986), Nostalgia Television (1990s) and Turner Classic Movies TCM premiere: November 13, 2008). Virtually forgotten, possibly due to its unfamiliar cast names, namely Evelyn Laye, ONE HEAVENLY NIGHT is an agreeable little piece of early sound operetta from Hollywood's bygone era. (***)

Evelyn Laye who was one of the great musical performers of the London stage made only a few films at this point of her career and this one being only one of two she did in Hollywood. Later on as a character actress she did much work on the big and small screen. This rather uninspired vehicle does afford one an opportunity to see her in her prime.

Sam Goldwyn who produced it knew he had a turkey on his hands, it is fairly obvious that a full musical score was written for this and numbers must have been cut right and left. It didn't help too much.

The plot is similar to something Laye's American contemporary Marilyn Miller might have done on stage. Laye is a poor flower girl working in a theater in Budapest. The star Lilyan Tashman who is a wild child causes a riot and is ordered out of town. Laye agrees to go in her place and Tashman decides to hide out.

But the local lord of the place she's exiled to, Count John Boles who is also the police prefect is a bit of a rake and he's planning a little fun and frolic because he's heard of Tashman's reputation. Laye who really likes what she sees in Boles is kind of torn as to how to behave, be her good girl self or be the party animal Boles was expecting.

Leon Errol is in this film as Laye's friend and confidante and you know how bad the film is because Errol's famous drunk act takes up a lot more footage than normal. Leon Errol was a fine performer, but not in the dose we got here. Errol's comic relief becomes the show.

For those who like Eddy/MacDonald operetta even they will be bored with One Heavenly Night.

Speaking of Jeanette and Nelson, Evelyn Laye was in the original cast of Bittersweet on stage. Now if she had filmed that it would have been worth preserving.

Evelyn Laye and John Boles are absolutely charming. The musical sections are quite beautiful my only complaint is that there isn't enough music. Much of the music seems to have been tragically cut out of the film before release due to the public's untimely distaste for musical at the time of the release of this film. By the time musicals became popular again, operettas of this classy type had unfortunately gone out of fashion. Rare chance to see one of the last of the first wave of musicals (1929-1931) from Hollywood (and in my opinion, it's best and most tasteful period). By the time the second wave came in 1932, musical films too a decidedly more low-brow approach with more emphasis being given to low comedy as opposed to classy tasteful music.