Solidrariol Am I Missing Something?

Sharkflei Your blood may run cold, but you now find yourself pinioned to the story.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

salvidienusorfitus 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.

Forn55 "Caught in her Own Love Trap... she could not stem The Fury of His Love!" screams the poster that was used to advertise this 1930 musical/operetta. If only it were true... Even though elegantly produced by Samuel Goldwyn, "One Heavenly Night" became one of the big flops of the year and the passing decades have not been kind to it. This "talkies" screen debut of West End singing star Evelyn Laye was obviously intended to launch her on a musical film career in Hollywood, but both critics and audience rightly perceived the flick as a turkey, and Miss Laye's career as a screen song siren never materialized. In fairness to the lady, it's difficult to imagine what vocal and thespian powers she might have drawn upon to overcome the stale script, the so-so music, and the stilted performances of her co-actors (including John Boles and a painfully unfunny Leon Errol). It's nice to know that -- after being bruised by Tinseltown -- Evelyn Laye returned to a long and highly successful career on the British stage and died in the 1990's, much loved and appreciated by her audiences, at the ripe old age of 95. As for "One Heavenly Night," if you get the opportunity to see it... don't...

MartinHafer During the 1930s, there were quite a few god-awful musicals that are awfully hard to stomach today. That's because unlike other musicals, the songs were almost operatic in style and high-pitched warbling abounded. Now you probably are immediately reminded of Jeanette MacDonald and Nelson Eddy's films, though there were some that came out before theirs that were actually far more difficult to stomach--the films were so old fashioned and the singing so dreadful. Oddly, the studio heads even placed Laurel and Hardy in a few of these musical monstrosities--they were that popular an 'art' form at the time.Here in ONE HEAVENLY NIGHT, we've got all the makings of a terrible old musical. The singing is among the most high-pitched and ear-shattering, the songs are dull, the acting (at times) is suspect, the film features comic relief (Leon Erol) that isn't all that funny and the love story is rather creepy.Let's talk about the love story for a moment. The film begins with a not especially attractive lady singing a song rather poorly. Yet despite this, the men in the audience respond like she's "Swing Shift Cinderella" (from the Tex Avery cartoon) and begin hooting and hollering and acting like horny dogs. After a riot, the police order this sex kitten out of the city but instead she sends a similar looking friend. This friend (Evelyn Laye) has dreamed about the life of a vamp and she's quick to agree to the masquerade. However, the vamp's reputation proceeds her and the Count in the town she arrives in assumes she's an easy sexual conquest. When he practically rapes Laye (great name, huh?), she runs off and realizes she doesn't want to be a vamp! Yet, oddly, later the Count realizes he actually loves Laye and wants to marry her, not just lay Laye. And so the two kiss and live happily ever after! Aside from promoting date rape, this plot is really, really hard to believe and is made all the worse by the couple periodically breaking into song.Overall, the idea behind the plot isn't bad but the execution and romance are so god-awful I can't recommend the film.

ksf-2 The problem with One Heavenly Night is that it tries too hard to be a little of everything, and can't make up its mind what it wants to be. We have the coy, demure Evelyn Laye as Lilli and the tall, dark, and dashing Count Tibor (John Boles) chasing each other around in a mansion, and out in the rain (although Lilli's hair and dress don't seem to get very wet after running through the pouring rain...) Lilli pretends to be Fritzi, a famous entertainer. Then, for a time, its also a comedy with Leon Errol as Otto, who gets drunk and silly with the Count's house manager, as they discuss the wine room and drinkies. These routines scattered about really slow the movie down. Then Lilli and the Count do a GREAT job singing to each other, in Jeanette MacDonald, Nelson Eddy operatic style. This 1931 Goldwyn production is made just before the Hays movie code came riding in, and TCM showed it at midnight, just in case. There are some suggestive songs, but no blatantly improper scenes which were so common in movies made at this time. Surprisingly good quality sound and photography. The plot is a little hit or miss, but not a bad way to spend 80 minutes. No surprises in this one...