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One Night of Love (1934)

Passed  |   |  Music, Romance  |  15 September 1934 (USA)
6.0
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Ratings: 6.0/10 from 361 users  
Reviews: 9 user | 7 critic

Mary Barrett is an aspiring Opera singer who is taken under the wings of a famous operatic maestro, Guilio Monterverdi. After spending endless working hours together and arguing, their ... See full summary »

Writers:

(screen play), (screen play), 3 more credits »
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Won 2 Oscars. Another 1 win & 4 nominations. See more awards »

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Cast

Complete credited cast:
Grace Moore ...
Tullio Carminati ...
Guilio Monteverdi
...
Bill Houston
Mona Barrie ...
Rosa Lally
Jessie Ralph ...
Angelina
Luis Alberni ...
Giovanni
Nydia Westman ...
Muriel
Andrés de Segurola ...
Galuppi (as Andres De Segurola)
Rosemary Glosz ...
Frappazini
Edit

Storyline

Mary Barrett is an aspiring Opera singer who is taken under the wings of a famous operatic maestro, Guilio Monterverdi. After spending endless working hours together and arguing, their relationship develops into love. But, jealousy and misunderstandings prevent Mary and Guilio from acknowledging their true feelings. Written by Kelly

Plot Summary | Add Synopsis

Plot Keywords:

singing | love | singer | opera | winner | See All (192) »

Genres:

Music | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

|

Release Date:

15 September 1934 (USA)  »

Also Known As:

Das leuchtende Ziel  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Grace Moore had trouble duplicating 'Un bel di' aria from "Madame Butterfly" during filming as she couldn't hit the high notes. She flew into a rage and blamed the orchestra for hindering her. Columbia studio head 'Harry Cohn' asked his musical director Morris Stoloff what seemed to be the problem. Stoloff replied that the orchestra was fine and that they were playing the original Puccini orchestrations - implying that Moore herself was at fault. She was then told either to return to the recording stage or she would have to pay a day's salary to the entire orchestra. Moore duly returned and successfully recorded the song. See more »

Connections

Featured in The Soundman (1950) See more »

Soundtracks

Overture to 'Carmen'
(1875) (uncredited)
Music by Georges Bizet
Played offscreen at an opera
See more »

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User Reviews

 
Dated but bubbly musical glamourizes opera

More dated than Columbia's other big hit of 1934, IT HAPPENED ONE NIGHT, this influential musical still seems light and bright because it never takes itself too seriously. Its success revealed the public's unsuspected hunger for opera, or more accurately, pretty snippets from operas. This certainly gave MGM ideas about how to showcase Jeanette MacDonald, and started a stampede to corral star sopranos [Lily Pons], budding divas [Deanna Durbin], and operatic guest stars [even Kirsten Flagstad sings in BIG BROADCAST OF 1938].

At the time, Grace Moore got all the attention, as much for her shapely figure and for stepping down from her Metropolitan Opera pedestal as for her actual performance. Playing a soprano who spends her savings to study with a famous maestro in Italy, the 33 year-old Moore seems a bit of a late starter, but bounces around with lots of vivacity. Singing the title song and the inevitable "Ciri-Biri-Bin", she mostly avoids the pearls-before-swine tone of opera singers when they stoop to popular song, although she still sashays [especially as Carmen] and waves her arms too much for modern tastes.

Many decades later, it is clear that much of the charm was supplied by Tullio Carminati, an appealing comic actor with a wry quality, something like an Italian Walter Matthau. As Moore's mentor/romantic interest, he has a kind of offhand sophistication and the expert timing to support Moore's occasionally shaky line readings [of course, she's the one who got the Oscar nomination].

Director Victor Schertzinger soft-pedals the high culture, and manages several Lubitsch/Mamoulian moments: one amusing conceit has a building full of musicians all practicing different instruments in discord, until Moore unites the tunes with her impromptu rendition of "Sempre Libre" from LA TRAVIATA. Another enjoyable sequence presents singing a quartet from LUCIA as a strategy to avoid paying the rent. When the plot enters the tiresome misunderstandings phase, Schertzinger keeps the pace going until the finale, a staging of a scene from MADAME BUTTERFLY.

Throughout, Joseph Walker, Columbia's maestro of camerawork, softly lights Moore to utmost advantage, and even gets in a couple of zoom shots [in 1934!]


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