One Night of Love (1934)

80, 82 or 84 mins | Musical | 15 September 1934

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HISTORY

According to IP , the complete proscenium and part of the wings and seating plan of the Metropolitan Opera House were duplicated for this production and occupied the whole of Columbia's largest stage. According to a FD news item, associate producer Everett Riskin's name could not appear on the screen credits because of an inflexible studio rule. Also according to FD , One Night of Love had its premiere at the Music Hall in New York. In this picture, Metropolitan Opera soprano Grace Moore made her first onscreen appearance after a three-year absence. She made her first two films for M-G-M in the early 1930s. One Night of Love was selected as one of the ten best pictures of 1934 by FD 's poll of critics, and it was a "box office champion" during 1934 according to the 1935-36 MPA . The movie was nominated for four Academy Awards: Victor Schertzinger for Best Directing, Paul Neal for Best Sound Recording, Gene Milford for Best Editing and the Columbia Studio Music Department for Best Score. Awards were received by Neal and the Music Department. In addition to these two awards, the film received a special "scientific or technical" award, Class III, for the studio's recording of the picture's sound and the "application of the vertical cut disc method (hill and dale recording) to actual studio production." In a filmography in the biographical film on Edgar G. Ulmer at the AMPAS Library, he is listed as a writer of this ... More Less

According to IP , the complete proscenium and part of the wings and seating plan of the Metropolitan Opera House were duplicated for this production and occupied the whole of Columbia's largest stage. According to a FD news item, associate producer Everett Riskin's name could not appear on the screen credits because of an inflexible studio rule. Also according to FD , One Night of Love had its premiere at the Music Hall in New York. In this picture, Metropolitan Opera soprano Grace Moore made her first onscreen appearance after a three-year absence. She made her first two films for M-G-M in the early 1930s. One Night of Love was selected as one of the ten best pictures of 1934 by FD 's poll of critics, and it was a "box office champion" during 1934 according to the 1935-36 MPA . The movie was nominated for four Academy Awards: Victor Schertzinger for Best Directing, Paul Neal for Best Sound Recording, Gene Milford for Best Editing and the Columbia Studio Music Department for Best Score. Awards were received by Neal and the Music Department. In addition to these two awards, the film received a special "scientific or technical" award, Class III, for the studio's recording of the picture's sound and the "application of the vertical cut disc method (hill and dale recording) to actual studio production." In a filmography in the biographical film on Edgar G. Ulmer at the AMPAS Library, he is listed as a writer of this film. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Film Daily
6 Jul 34
p. 4.
Film Daily
15 Nov 35
p. 12.
Hollywood Reporter
28 May 34
p. 3.
International Photographer
1 May 34
p. 16.
Motion Picture Daily
23 Jun 34
p. 2.
Motion Picture Herald
30 Jun 34
p. 52.
MPSI
1 Feb 35
p. 35.
New York Times
7 Sep 34
p. 25.
Variety
11 Sep 34
p. 11.
CAST
NAME
CREDITED AS
CREDIT
Reginald Le Borg
Alex Schoenberg
John P. Lockney
Andre Cheron
Philip Sleeman
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
Harry Cohn, President
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCER
Assoc prod
WRITERS
Scr
PHOTOGRAPHY
Photog
Asst cam
Asst cam op
Asst cam op on retakes
Lighting
Gaffer
Spec eff
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
COSTUMES
Cost
MUSIC
Mus dir
Operatic numbers conducted by
Thematic mus
Thematic mus
SOUND
Rec eng
PRODUCTION MISC
Props
Gen press agent
STAND INS
Stand-in for Tullio Carminati
Stand-in for Grace Moore
Stand-in for Grace Moore
SOURCES
LITERARY
Based on the unproduced and unpublished play Don't Fall in Love by Dorothy Speare and Charles Beahan (copyrighted 10 Feb 1931).
MUSIC
"One Night of Love," thematic song accompaniment by Victor Schertzinger.
SONGS
Selections from the opera Lucia di Lammermoor , music by Gaetano Donizetti, libretto by Salvatore Cammarano
"Ah for e lui" and "Sempre libera" from the opera La traviata , music by Giuseppe Verdi, libretto by Francesco Maria Piave
"Habanara" and "La Barrett" from the opera Carmen , music by Georges Bizet, libretto by Henri Meilhac and Ludovic Halévy
+
SONGS
Selections from the opera Lucia di Lammermoor , music by Gaetano Donizetti, libretto by Salvatore Cammarano
"Ah for e lui" and "Sempre libera" from the opera La traviata , music by Giuseppe Verdi, libretto by Francesco Maria Piave
"Habanara" and "La Barrett" from the opera Carmen , music by Georges Bizet, libretto by Henri Meilhac and Ludovic Halévy
"Lovely Day (Un bel di)" from the opera Madame Butterfly , music by Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica
"Ciri-biri-bin," music and lyrics by A. Pestalozza and Rudolph Thaler.
+
DETAILS
Release Date:
15 September 1934
Production Date:
15 March--20 April 1934
Copyright Claimant:
Columbia Pictures Corp.
Copyright Date:
30 July 1934
Copyright Number:
LP4862
Physical Properties:
Sound
Western Electric Noiseless Recording
Black and White
Duration(in mins):
80, 82 or 84
Length(in reels):
9
Country:
United States
PCA No:
68
Passed by NBR:
No
SYNOPSIS

After auditioning for a radio part, singer Mary Barrett informs her parents that she is leaving New York City to study music in Milan, Italy. Mary gets a job at the Cafe Roma, where the eminent Giulio Monteverdi hears her sing. Giulio promises to make Mary a star if she will allow him to control her life and mold her, but without the possibility of romance. Soon, Mary is ready for a tour of provincial opera houses, and Giulio helps her to overcome stagefright. After several years, Mary begins to tire of Giulio's dominance and discipline. In Vienna, Mary and Giulio meet one of his old pupils, Lally, who angered Guilio when she tried to engage him in a romance. Mary becomes jealous and pretends to have laryngitis, and Giulio goes to a different hotel. Mary believes Guilio has gone to Lally, and so visits Bill Houston, a longtime friend who has proposed marriage. After a day of throwing fruit at her posters, Mary decides not to sing that night. To persuade her to go on, Giulio first claims that Lally will take her place and then proposes to her. Mary's performance of "La Barrett" from Bizet's Carmen wins her an invitation to the Metropolitan Opera, but Giulio insists she is not ready. Bill then leaves for New York, and tells Mary he does not belong to her kind. Upon returning to a dinner that Giulio has prepared for Mary, Lally lies to Mary, saying that she is still involved with the impresario. On the night of her debut in Madame Butterfly , Mary is too nervous to go ... +


After auditioning for a radio part, singer Mary Barrett informs her parents that she is leaving New York City to study music in Milan, Italy. Mary gets a job at the Cafe Roma, where the eminent Giulio Monteverdi hears her sing. Giulio promises to make Mary a star if she will allow him to control her life and mold her, but without the possibility of romance. Soon, Mary is ready for a tour of provincial opera houses, and Giulio helps her to overcome stagefright. After several years, Mary begins to tire of Giulio's dominance and discipline. In Vienna, Mary and Giulio meet one of his old pupils, Lally, who angered Guilio when she tried to engage him in a romance. Mary becomes jealous and pretends to have laryngitis, and Giulio goes to a different hotel. Mary believes Guilio has gone to Lally, and so visits Bill Houston, a longtime friend who has proposed marriage. After a day of throwing fruit at her posters, Mary decides not to sing that night. To persuade her to go on, Giulio first claims that Lally will take her place and then proposes to her. Mary's performance of "La Barrett" from Bizet's Carmen wins her an invitation to the Metropolitan Opera, but Giulio insists she is not ready. Bill then leaves for New York, and tells Mary he does not belong to her kind. Upon returning to a dinner that Giulio has prepared for Mary, Lally lies to Mary, saying that she is still involved with the impresario. On the night of her debut in Madame Butterfly , Mary is too nervous to go on stage, until she sees Giulio in his usual place in the prompter's box. A friend has told Mary of Lally's escapade, but she had been too proud to call Giulio on her own. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.