Nostalgie viennoise

This lovely, fluffy bit of nonsense is exactly the type of pseudo-sophistry which Paramount exemplified in the early thirties. Ernst Lubitsch epitomised the zenith of their Depression-busting other-worldly genre and this little film was one of the studio's many other but very competent 'also rans'

It's a fairly frivolous and un-memorable picture with as much depth as a puddle but it's so beautifully put together you can't help but get hooked by it. Furthermore with Herbert Marshall's effortless charm, you'll have to stick with it until the end. You also get a rare chance to see Sari Martiza who doesn't have much to do in this other than look pretty. She is however not nearly as bad an actress as many more famous actresses of that era were who unlike her, didn't know their own limitations. Overall it's professionally made resulting in an enjoyable if rather pedestrian hour of uplifting fun.

There's actually some historical accuracy in the story. After The First World War, Austria's aristocracy (who started the thing) had all their assets confiscated so were plunged instantly into poverty. There is evidence that some former nobles really did resort to becoming gigolos in clubs like the one Herbert Marshall's character finds himself in. It's interesting to see that a hundred years ago, just like now, you could wander into a club, be approached by an attractive member of the opposite sex and all of a sudden find yourself with a £150 bar bill!

Lubitsch might have done it better but nevertheless, this is a warm, cosy bit of harmless nonsense that will put a gentle smile on your face.

While he was never a super-star, Herbert Marshall is one of my favorite actors of his era. Much of this is because he had a lovely voice and he also made his acting seem so natural. Here in "Evenings for Sale", he takes an okay plot and elevates it...as usual.

The Count (Marshall) is broke and about ready to shoot himself. However, a possible answer to his problems arrives when he sees an old servant,Bimpfl (Charlie Ruggles). Bimpfl convinces the Count to be a gigolo...of sorts. While the word is even used, the Count does NOT sleep with his prey. Instead, he uses his charm and sophistication to sweep them off their feet. The problem is that one of the ladies he meets (Sari Maritza) means more to him...but she wants nothing to do with him because of his line of work.

Despite being a Pre-Code film, it is clear that the Count is NOT providing sex...making him a most unusual gigolo! Still, the idea works and the acting (Mary Boland is also excellent) very nice. Well worth seeing.

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.

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.

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.