One Heavenly Night (1930)

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.

"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...

This original operetta was a flop in 1930 and still is, despite good production values (no surprise, with Goldwyn as producer) a shimmering leading lady (Evelyn Laye) and a fun supporting turn by Lilyan Tashman. The songs by Clifford Grey, Herb Nacio Brown, Edward Eliscu and Bruno Granichstaedten are mildly pleasant, nothing more, and a musical with a boring book (by Sidney Howard, of all people!) needs superior songs to float, and these second- rate numbers don't help. Finally the enterprise sinks completely during long and tiresome slapstick routines performed by Leon Errol. Sometimes the viewer wonders whether this production was meant to be a conventional operetta or a variety show. John Boles as the romantic lead exudes more energy than in his straight dramatic roles and sings well, but not often enough to put a dent in the tedium. Students of cultural history will find this film interesting as an example of why screen musicals became unpopular for a time. It's too bad Laye had to be in a turkey for her American sound film debut. She had everything it took to be a major player.

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