"ONE ROMANTIC NIGHT was for many decades Lillian Gish's most elusive sound era film. This 1930 release was her "talkie" debut after fifteen years of being one of the silent screen's greatest stars and widely considered its best actress. The film was rarely seen after initial release only to be resurrected circa 2010 via airings on Turner Classic Movies and dvd release by Warner Home Archive. It's understandable how this elegant romantic comedy about nobility failed at the U. S. box office in 1930 when snappy musicals starring earthy heroines, racy pre-code melodramas, and rough jailhouse and gangster pictures were packing in moviegoers at the time. Compared to what was going on in films set in contemporary America, this film must have looked like it was not only set in another country but on another planet.
The film is an adaptation on Ferenc Molnar's classic play "The Swan" (its original title used in both the earlier 1925 and later 1956 versions and indeed this version was reissued with the original title in 1932 and the print now circulating has that name on the screen). The first version was made just five years earlier starring Adolphe Menjou and Ricardo Cortez as the Prince and the tutor, with stage actress Frances Howard (who soon after retired and married Samuel Goldwyn) given the female lead. The 1956 remake headlined Grace Kelly in her final film just before she became a real-life princess and is one of her least remembered and least successful films.
Lillian Gish stars as Princess Alexandra, whose royal family retain their titles although they no longer reign over a country. Since childhood Alexandra has been discreetly infatuated with Prince Albert (Rod La Roque) of another nation who is still in active duty in his monarchy. Albert, however, has grown into party animal, going from one racy party to another and bewitching and romancing bimbos from all levels of society. He is loathed to see Alexandra again, aware of the long talk between their families of their prospective marriage at some point. Alexandra's pre-teen brothers are aware that their beloved tutor, Dr. Haller (Conrad Nagel) has an unrequited crush on their sister, and they tease both parties about it. Alexandria is, at the very least, flattered and intrigued by the idea and just perhaps feeling a bit of affection for him as well. Their mother (Marie Dressler) however is most anxious that the royal union takes place as soon as possible since there are really no other opportunities for Alexandria to become a Queen on the horizon.
When the reunion as young adults finally happen, Albert is pleasantly surprised how straightforward and agreeable Alexandria is, she aware of Albert's "party Prince" image via the newspapers and realizing he is in no hurry to marry. They become good friends and Alexandria voluntarily frees Albert of any obligations. Mother Dear is not happy though. She correctly senses Albert's ennui and realizes the best way to get a man interested is to suggest he has a rival. She talks Alexandria into inviting Dr. Haller to the gala they are throwing for Albert and to request he dance with her and spend time with him to make Albert jealous. Alexandria feigns reluctance but clearly is delighted for a chance to finally interact with Dr. Haller on a more personal level. Needless to say, Dr. Heller is thrilled and comes to believe the class barrier can indeed become a nonissue, but the situation becomes more complicated by the minute, and nobody knows exactly where things stand. Indeed, as Alexandria notes, "Tonight, anything might happen."
Molnar is very much a European writer, not going for the American ideal of the time of at all points rooting for the common Joe. Neither man is patently "wrong" or "right" for Alexandria in the story. Indeed, one is never sure which of the two men will win the Princess until the very end, which is really how movie triangles should be, in my opinion. "The Swan" gives its players "a most undeserved happy ending" as one character notes at the finale. The resolution is also quite clever though not exactly the same as in the play although with the same results.
"One Romantic Night" is a big expensive picture with lavish sets and was obviously filmed at least partially on an estate not just at a studio. Lillian has the perfect sensibility for this Princess, intelligent, charming, modest, and just a bit wistful. She looks quite youthful, and the cinematographer is wise enough not to give her too many closeups to keep the illusion. I was charmed by one scene in the garden in the early morning light that gives Lillian a lovely glow like an angel or fairy though amused the cinematographer couldn't quite limit the effect to just Miss Gish in the scene, giving the elderly actor playing her uncle a bit of a halo as well (well, he was in the monastery, perhaps he was a saint.) Lillian is every bit "the Swan" though envisioned by her character's late father, "Regal, beautiful, and aloof," though aloof in the reserved sense not haughty and removed as some define the term.
Her leading men in this talkie were also veteran silent stars. Conrad Nagel was one of those matinee idols with a stunning profile but rather ordinary looks face forward; he's very good though as the young man's whose fantasy romance just might come true. Rod La Roque correctly plays his part with a touch of unappealing decadence, the pampered Prince, who just might know when to be decent even if he doesn't bother with it too often. Marie Dressler is the most comic of the players (no surprise there) as the meddling mother but much as I'm a fan of hers I can't help but think the part might have been better served by one of the iconic senior actresses of theatre, particularly the legendary Mrs. Fiske, still around and active in 1930, though not for long, whose two silent films were very well received by critics in the 1910's, or perhaps Maude Adams or Julia Marlowe. This was really just another part for Marie, but it would have meant preserving for posterity one of these theatre legends on film and the part had just enough size and bite that it might have tempted them without having to worry about carrying a project in a new medium.
This is one of those long elusive films that you can't help but be disappointed by the first time you see it, the anticipation being so strong and unrealistic with the excitement of it at last unearthed. Give it a second viewing though and you just might appreciate a lightly entertaining, classy effort well done by talented actors.
The film is an adaptation on Ferenc Molnar's classic play "The Swan" (its original title used in both the earlier 1925 and later 1956 versions and indeed this version was reissued with the original title in 1932 and the print now circulating has that name on the screen). The first version was made just five years earlier starring Adolphe Menjou and Ricardo Cortez as the Prince and the tutor, with stage actress Frances Howard (who soon after retired and married Samuel Goldwyn) given the female lead. The 1956 remake headlined Grace Kelly in her final film just before she became a real-life princess and is one of her least remembered and least successful films.
Lillian Gish stars as Princess Alexandra, whose royal family retain their titles although they no longer reign over a country. Since childhood Alexandra has been discreetly infatuated with Prince Albert (Rod La Roque) of another nation who is still in active duty in his monarchy. Albert, however, has grown into party animal, going from one racy party to another and bewitching and romancing bimbos from all levels of society. He is loathed to see Alexandra again, aware of the long talk between their families of their prospective marriage at some point. Alexandra's pre-teen brothers are aware that their beloved tutor, Dr. Haller (Conrad Nagel) has an unrequited crush on their sister, and they tease both parties about it. Alexandria is, at the very least, flattered and intrigued by the idea and just perhaps feeling a bit of affection for him as well. Their mother (Marie Dressler) however is most anxious that the royal union takes place as soon as possible since there are really no other opportunities for Alexandria to become a Queen on the horizon.
When the reunion as young adults finally happen, Albert is pleasantly surprised how straightforward and agreeable Alexandria is, she aware of Albert's "party Prince" image via the newspapers and realizing he is in no hurry to marry. They become good friends and Alexandria voluntarily frees Albert of any obligations. Mother Dear is not happy though. She correctly senses Albert's ennui and realizes the best way to get a man interested is to suggest he has a rival. She talks Alexandria into inviting Dr. Haller to the gala they are throwing for Albert and to request he dance with her and spend time with him to make Albert jealous. Alexandria feigns reluctance but clearly is delighted for a chance to finally interact with Dr. Haller on a more personal level. Needless to say, Dr. Heller is thrilled and comes to believe the class barrier can indeed become a nonissue, but the situation becomes more complicated by the minute, and nobody knows exactly where things stand. Indeed, as Alexandria notes, "Tonight, anything might happen."
Molnar is very much a European writer, not going for the American ideal of the time of at all points rooting for the common Joe. Neither man is patently "wrong" or "right" for Alexandria in the story. Indeed, one is never sure which of the two men will win the Princess until the very end, which is really how movie triangles should be, in my opinion. "The Swan" gives its players "a most undeserved happy ending" as one character notes at the finale. The resolution is also quite clever though not exactly the same as in the play although with the same results.
"One Romantic Night" is a big expensive picture with lavish sets and was obviously filmed at least partially on an estate not just at a studio. Lillian has the perfect sensibility for this Princess, intelligent, charming, modest, and just a bit wistful. She looks quite youthful, and the cinematographer is wise enough not to give her too many closeups to keep the illusion. I was charmed by one scene in the garden in the early morning light that gives Lillian a lovely glow like an angel or fairy though amused the cinematographer couldn't quite limit the effect to just Miss Gish in the scene, giving the elderly actor playing her uncle a bit of a halo as well (well, he was in the monastery, perhaps he was a saint.) Lillian is every bit "the Swan" though envisioned by her character's late father, "Regal, beautiful, and aloof," though aloof in the reserved sense not haughty and removed as some define the term.
Her leading men in this talkie were also veteran silent stars. Conrad Nagel was one of those matinee idols with a stunning profile but rather ordinary looks face forward; he's very good though as the young man's whose fantasy romance just might come true. Rod La Roque correctly plays his part with a touch of unappealing decadence, the pampered Prince, who just might know when to be decent even if he doesn't bother with it too often. Marie Dressler is the most comic of the players (no surprise there) as the meddling mother but much as I'm a fan of hers I can't help but think the part might have been better served by one of the iconic senior actresses of theatre, particularly the legendary Mrs. Fiske, still around and active in 1930, though not for long, whose two silent films were very well received by critics in the 1910's, or perhaps Maude Adams or Julia Marlowe. This was really just another part for Marie, but it would have meant preserving for posterity one of these theatre legends on film and the part had just enough size and bite that it might have tempted them without having to worry about carrying a project in a new medium.
This is one of those long elusive films that you can't help but be disappointed by the first time you see it, the anticipation being so strong and unrealistic with the excitement of it at last unearthed. Give it a second viewing though and you just might appreciate a lightly entertaining, classy effort well done by talented actors.