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It Happened One Night (1934)

Not Rated | | Comedy, Romance | 22 February 1934 (USA)
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A spoiled heiress running away from her family is helped by a man who is actually a reporter in need of a story.

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(screen play), (based on the short story by)
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4,722 ( 164)
Top Rated Movies #185 | Won 5 Oscars. Another 5 wins & 2 nominations. See more awards »

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Cast

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Storyline

Ellie Andrews has just tied the knot with society aviator King Westley when she is whisked away to her father's yacht and out of King's clutches. Ellie jumps ship and eventually winds up on a bus headed back to her husband. Reluctantly she must accept the help of out-of- work reporter Peter Warne. Actually, Warne doesn't give her any choice: either she sticks with him until he gets her back to her husband, or he'll blow the whistle on Ellie to her father. Either way, Peter gets what (he thinks!) he wants .... a really juicy newspaper story. Written by A.L.Beneteau <albl@inforamp.net>

Plot Summary | Plot Synopsis

Taglines:

Together for the first time! See more »

Genres:

Comedy | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

22 February 1934 (USA)  »

Also Known As:

Night Bus  »

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Box Office

Budget:

$325,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (cut TV)

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The wedding scene at the end of Heartbreaker (1983)is a reprise of the wedding scene in this film. See more »

Goofs

When Ellen asks the autocamp owner to use the telephone, she is refused permission and directed to the sheriff's office. However, a newspaper reporter later says that she telephoned her father from an autocamp. See more »

Quotes

[Peter makes a couple of "beds" from hay off of a haystack]
Peter Warne: All right, come on. Your bed's all ready.
Ellie Andrews: I'll get my clothes all wrinkled.
Peter Warne: Well, then take 'em off.
Ellie Andrews: What?
Peter Warne: All right, don't take 'em off. Do whatever you please, but shut up about it!
See more »

Connections

Referenced in Alice Goodbody (1974) See more »

Soundtracks

Bridal Chorus (Here Comes the Bride)
(1850) (uncredited)
from "Lohengrin"
Written by Richard Wagner
Sung by an offscreen chorus during the wedding
See more »

Frequently Asked Questions

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User Reviews

 
Travel back in time, to the days when romantic comedies had not yet evolved into chick flicks
28 November 1999 | by See all my reviews

I was inspired to think of other films with completely mystifying titles. `The Phantom Menace', obviously. Also: `The Shop Around the Corner' (around the corner from WHERE?), `The Empire Strikes Back' (it doesn't), `The Living Daylights', `True Lies', `Batman Forever', `Species', `The Life and Death of Colonel Blimp' ... if anyone has any more suggestions, please send them to me. In this case, it happens over several nights, and I'm not sure which particular night is being referred to. Probably one of the candidate nights is less unobvious than the rest; so I guess the title isn't COMPLETELY mystifying. But actually, Capra gives us the feeling that everything is up in the air. Everyone knows that the hero and heroine of romantic comedies are bound to get hitched in the end - in most cases it's simply a question of staying awake. But Capra makes us feel the contingency of it all. I, for one, was convinced that right up until the final moment, it could have gone either way. How did Capra manage this? Was it because he was a complete innocent; or was it because he was remarkably sophisticated? I don't suppose it matters: it's results that count. I'm glad to see very little mention among the comments about the sexism of it all. The characters have life; their words have life; and if such art as this could only be produced by a sexist society, it's almost worth creating a sexist society (and then dismantling it), in order to get the art. In modern romances I get the feeling that the writers are wearily writing `feisty' lines for the heroine in an attempt to fool feminists, who, by and large, aren't so easily fooled. Claudette Colbert isn't feisty. When she DOES assert her independence, she means it. (And, of course, when Clark Gable asserts his dominance, HE means it. You don't get sincerity like this these days.) Anyway, the ideology of a film, if there is one, is always beside the point, except inasmuch as the ideology is AESTHETICALLY attractive or unattractive. This is an attractive film. Two real individuals, a real story, some misunderstanding but no tiresome or pointless misunderstanding, constant wit - and, as I expressed amazement at earlier, constant suspense. And if THAT isn't enough to get you to watch it, note that it was released in 1934. The Hayes code didn't come into effect until 1935. Not a moment too late.


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