ShangLuda Admirable film.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

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.

Gerald-5 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

Silents Fan 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.