One Romantic Night (1930) User Reviews

Hungarian Goulash

[wes-connors · 5/10 · 22 July 2008]

Lovely, demure Lillian Gish (as Princess Alexandra) is expected to marry randy, royal Rod La Rocque (as Prince Albert). Instead, Ms. Gish is attracted to someone out of her societal class, her brothers' tutor Conrad Nagel (as Nicholas Haller). Gish's dalliance with Mr. Nagel puts her "arranged" royal wedding with Mr. La Rocque in jeopardy. As he finds his prospective bride slipping away, La Roque finds himself falling in love with Gish. Who will the Princess choose?

This re-titled version of Molnár's "The Swan" was certainly an unsuitable talking picture debut for Gish. Although she speaks well, the script and direction offer Gish little opportunity to show her considerable dramatic skills. Reportedly, the legendary actress clashed with director Paul L. Stein; and, George Fitzmaurice was called in to complete the film. The supporting cast, including Marie Dressler and Philippe De Lacy, and cinematography (Karl Struss), are attractive. La Rocque is unusually weak as the winning man; probably, his performance suffers due to the lack of direction (un-unified Fitzmaurice, Gish, and Stein). The unhappy experience resulted in Gish concentrating her energies on stage work.

***** One Romantic Night (5/3/30) Paul L. Stein ~ Lillian Gish, Rod La Rocque, Conrad Nagel, Marie Dressler

While the script is amazingly similar to the 1956 version, this one just doesn't work

[planktonrules · 5/10 · 14 November 2009]

If you've seen the 1956 version of THE SWAN, then this earlier version will very, very familiar as the scripts are so very similar--much more than the average remake. Yet, despite the strong similarity, the 1930 version just didn't work for me.

A major part of the problem was the poor decision to cast Lillian Gish in the lead. While she was always a lovely actress, she was simply way too old for this part. The character is supposed to be a young lady, but Gish is nearing 40 and having her play an eligible young princess is just silly. Also, while I have loved Gish in many other films, in her first sound film she is quite poor--often interrupting or talking over the lines of other actors. Now the director should have noted this and re-filmed a few scenes. However, it also was likely that Gish was just out of her element with sound and this interfered with her timing...and perhaps her confidence. Fortunately, in future sound films she improved tremendously--though she also did very few sound films during the 1930s--choosing instead to work on the stage.

In contrast, Grace Kelly was much younger and elegant and seemed more like a real princess--regardless of what the future would hold for her in Monaco. It also didn't help that Gish had the wimpy and rather effeminate Rod LaRocque as a romantic interest; whereas Kelly had a more handsome and regal Alec Guinness.

Another problem with the 1930 version is that it lacks the elegance and grace of the later version--and a lot of this is because in 1930 they still weren't that adept at using the new medium of sound. Like a typical 1930 film, there was little incidental music and the movie seemed amazingly flat. Just a bit of romantic or dramatic music here or there would have helped.

Overall, it's an interesting idea for a film but the execution left quite a bit to be desired. I would love to find a copy of the first version of the film (1925) but I have no idea where to look.

Enjoyable Film But...

[shuquil73 · 7/10 · 13 January 2012]

I found this movie very enjoyable . I didn't Lillian Gish was best for the part but she played it well...her facial expressions and eyes are the most interesting thing to watch in the film . Marie Dressler is usually a very good actress but doesn't fit the role well either ; maybe no one in the film does , but it's a pleasant watch anyway . La Rocque was weak ; Nagel was his handsome self but better suited with Garbo...O.P. Heggie was his usual delight . I would recommend this film .... one question : why does it go by two different titles ? I think the title of The Swan sounds much more interesting..."One Romantic Night" seems rather tripe ...... beautiful early talkie sound/picture quality

Lillian Gish's Talkie Debut

[drednm · 1 February 2008]

Very rare film based on Molnar's THE SWAN (an alternate title), ONE ROMANTIC NIGHT tells the story of a princess who must choose between a romantic tutor (Conrad Nagel) or a rascally prince (Rod La Rocque). Getting in the way and making things difficult is the princess' mother (Marie Dressler).

A terrific cast makes this watchable (although my copy is bad), but the story is rather dull. Gish (in her talkie debut) looks and sounds great; Dressler of course steals every scene she's in. Nagel is OK, and La Rocque is handsome but somewhat prissy.

At age 37, Gish was probably too old for the part of the princess, but it's the kind of character that fit her screen persona. Gish herself did not like the film and considered it slow and dull. She also didn't like the director, whose work she was unfamiliar with. She had not made a film since 1928's silent THE WIND and wouldn't make another film for 3 years. La Rocque, Nagel, and Dressler had all made talkies before this film.

Oddly, this story was filmed again in the 50s as THE SWAN and starring Grace Kelly and Alec Guinness.

Ruritanian sleeping pill

[mukava991 · 3/10 · 16 November 2009]

Pre-World-War-Two Hollywood got a lot of mileage out of Hungarian plays, in this case one by Ferenc Molnar which had been filmed previously and would be filmed again. These plays had one thing in common – people impersonating other people or pretending to be something other than what they really were in order achieve a status-seeking goal. Here, a princess (Lillian Gish), at the urging of her ambitious mother (Marie Dressler), keeps company with her younger brothers' tutor (Conrad Nagel) in order to make a prince (Rod La Rocque) jealous so that he will propose to her. This is the kind of story that might have been the backbone for an operetta directed by the likes of Lubitsch. But this film plays it straight and without the visual wit that Lubitsch brought to his projects. It begins promisingly as foppish, decadent LaRocque is dragged away by his handlers from a wild party to pay a visit to Gish and Dressler. But as soon as he arrives at his destination the film degenerates into one boring setup after another in which various combinations of people talk a lot about whether they are in love or not or which suitor will win Gish. Occasionally a voice is raised, a kiss is planted on lips or hands, or Dressler pulls nervously on her hanky.

In talkies, La Rocque fared best as a villain (as in THE LOCKED DOOR) but as the prince it's hard to tell whether his character is meant to be bad or good. He has a fey way with line readings that brings to mind the chronologically later Vincent Price. Although he looks magnificent in military garb, he lacks the natural joie de vivre that Maurice Chevalier brought to similar roles and he seems to be mocking himself. Nagel is, as always, dashing and sympathetic but at certain moments pompous. Dressler restrains herself commendably; in general she contributes much needed punch as well as dashes of humor. The ethereally beautiful Gish is every inch the princess in a flawless performance; the role she plays, unfortunately, is so tepid that her efforts hardly matter. She was 36 years old when this was shot but Karl Struss's soft focus cinematography helps.

"A Most Undeserved Happy Ending"

[HarlowMGM · 7/10 · 14 August 2023]

"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.

Un-romantic creakiness

[TheLittleSongbird · 3/10 · 16 March 2020]

It was interesting to see silent film star Lillian Gish in her first talking picture and Marie Dressler was always worth watching. Also love older films and there are many good examples of this type of film. Was not expecting a lot though from 'One Romantic Night' admittedly and am saying this with regret. Reviews have always been indifferent at best, with many respected critics and users not liking it at all and play to film adaptations at that time didn't always fare well.

'One Romantic Night' fails in this respect and is among the worst examples. Gish is much better served in silent films and it is best probably to stick to watching them, don't make 'One Romantic Night' your introduction to her. She and Dressler, who has also been better, don't fare too badly actually compared to everything else. It is the male cast and all the problems that too many play to film adaptations at that time had (all present here) that bring it down. As well as how its troubled production is all over it. Best to be seen as a curio and if you want to see every Gish film she did.

Gish may not be right for her role age-wise, but she looks luminous and gives a heartfelt and not too histrionic performance. Dressler also gives a committed performance without over-compensating and likewise with delightful OP Heggie.

While the sets may betray stage origins, they at least look sumptuous, and likewise with the costumes.

Not much praise otherwise sadly. Rod La Rocque is as stiff as a board and makes planks of wood more animated in comparison. Conrad Nagel is too mannered and smug. The multiple directing changes that 'One Romantic Night' suffered from is too obvious in the finished product, very erratic, and the photography captures Gish well but is too static which adds further to the staginess.

Staginess that is apparent in the stilted scripting, the very sluggish pacing and a story that creaks badly. Even back then it felt at least a decade out of date, is so stop and start and is overwrought.

Has its good points but too much doesn't work at all. 3/10

Not great, but it does have its modest charms

[MissSimonetta · 7/10 · 25 November 2023]

A common misconception about the decline of silent film stars at the dawn of the talkie revolution is that their subsequent unpopularity came from bad voices or an inability to recite dialogue. This idea ignores how much society in general was shifting during the late 20s and early 30s, what with the Great Depression puncturing Roaring Twenties decadence and optimism, as well as the usual shifts in audience taste that had always been occurring among moviegoers. These shifts had a lot more to do with the decline of old favorites than squeaky voices.

Lillian Gish's decline as a movie star was already in effect before moguls accepted sound was more than a fad. Her last few silent films had either underperformed or flopped. Gish was a phenomenal actress, but her tragic ingenue image was falling out of favor, even with attempts to complicate the persona with madness (THE WIND) or innocent sexuality (LA BOHEME and THE SCARLET LETTER). Stars rise and fall on the whims of their public, and the public was losing interest in Gish.

ONE ROMANTIC NIGHT is Gish's first talkie and it's often purported to be a showcase for how bad early sound filmmaking could be. I've seen it twice and honestly, there are way worse early sound films than this one. The acting is largely stiff and the action stagebound, but the script is a diverting trifle. Gish was too old to play the princess, but she had the proper patrician look and the ability to play girlish characters well. She's certainly better than Rod La Roque as the rakish prince, who comes off way too nasally and foolish to strike one as a properly enticing bad boy. Conrad Nagel, Marie Dressler, and OP Heggie all give Gish proper support and there's enough modest entertainment value in the whole affair to keep the film from being a bore.

Early talkie that gets better as it goes on, plus Lillian Gish's talkie debut!

[rebel_sgeezy89 · 8/10 · 22 May 2020]

This film begins rather slowly, but gets more interesting as one progresses through the film. The Swan, later retitled One Romantic Night, was the talkie debut of silent film giant Lillian Gish. The criticism that Gish was too old for this part are baseless because Gish still looked quite young at this point (she certainly didn't look 37). She was also very dolled up and beautiful, looking every bit like a princess. Her talkie debut was great. She spoke well, she had great facial and bodily expressions, and she captivated the audience during her scenes just as she did in her silent films. This role was also a welcome change for Gish fans used to seeing her play the vulnerable, frail, nice girl roles, as she was strong, defiant, and independent in this role. Marie Dressler was great too. She owned her lines expressively without overdoing it, and it was nice to see her in a nobility role, much different than her previous roles. Rod La Rocque and Conrad Nagel could be stiff at times, but there were scenes where they shined as well. The two teenage boys had small roles, but performed them very well. Overall, the film has a rather slow start, and at some point the acting seems quite "stagey," but overall it is an enjoyable film, and it's very worth watching for Lillian Gish fans to see her in her first talkie.

most faithful of the three versions to Molnar's social class satire

[Dunham16 · 9/10 · 16 November 2009]

Of the three film versions,including the 1925 silent movie not commercially available,and the 1956 Grace Kelly version once commercially available on VHS, this version most closely approximates Molnar's MAIN point in writing this comedy - erg the sharp distinction in the social classes in nineteenth century European monarchies. Prince Albert is pictured as a rakish Royal who can still come across affable and understanding, as not forcing Alexandra into an arranged marriage and also, understanding the tutor's plight and not willing to see him suffer. Dr. Haller is much more appropriately the spokesman for the dignity of the common man which is a central theme in European comedies than is the parallel character, Dr. Agi, in the 1956 remake. Though Lillian Gish does not look 17 as does Grace Kelly in the 1956 remake, she is far more prepared to act as a teenager in the film than is Grace Kelly, who brings her marvelous and much-appreciated regal aloofness to this portrayal as she does to all her other films. However, Gish ended up getting the director changed midstream and is possibly the root cause of the film's alternate denouement in which the Prince tricks rather than coaxes the title character in at least be willing to consider his offer of a Royal union.

Disappointing Early Talkie

[Michael_Elliott · 12 December 2009]

One Romantic Night (1930)

* 1/2 (out of 4)

Screen legend Lillian Gish made her talkie debut in this rather static (?) comedy about a love triangle. In the film she plays a princess who is promised to a man (Rod La Rocque) but of course she's in love with another (Conrad Nagel). This film was filmed once before in 1925 and again later with Grace Kelly but I haven't seen either of those to make a far comparison. I'm certainly hoping that either one is better than this film because sadly this film is quite poor. I love Gish and always have but this film here is pretty poor from start to finish and even her lovely grace can't save it. In fact, I'd say she's part of the problem because she's way too old (37 at the time) to be playing the part, which is clearly mean for someone in their early twenties, if not younger. Having her squeeze into a role like this is certainly unfair and especially considering this was also her first talkie. Her talking sequences are really bland, which took me by surprise. I thought she would have handled the jump a lot better than she did because she had a lovely voice but it seems she's trying way too hard to push her voice. Just watch her in a number of scenes where she actually looks like she's trying to "push" her voice. She wouldn't make another film for three years and apparently hated making this movie, its director and had an overall negative opinion on the film but after seeing this you could understand why. Both La Rocque and Nagel are rather stiff and bland as well. Supporting players Marie Dressler and O.O. Heggie fair somewhat better but they can't save the film either. The entire film is poorly directed and I'd question whether anyone knew if they were making a comedy or drama because I honestly couldn't tell. Things are that flat from start to finish so there's really no one to recommend this to unless, like myself, you're a Gish fan and want to say you've seen her first talkie.

Lillian Gish talks.

[gkeith_1 · 10/10 · 30 July 2014]

Some of my observations:

Lillian Gish talks. She made the cut, to sound motion pictures. Is this her real voice? She is glamorous. She is dolled up. Marie Dressler is well done up, too, and her black gown is stunning -- a far cry from Marie's grimy turn in Min and Bill. Again, I am more used to seeing Lillian in silent films. Lillian was from Ohio, where I live.

Two romantic admirers. One is a stupid, smarmy, mustache-and-eyebrows-(lipstick, too?)- painted-on prince. One is an intelligent astronomer who gulps brandy in a flash. Drunkard is the astronomer's newest description.

It is good to see Lillian dressed as royalty, wearing a jeweled tiara and a lovely evening gown. Lillian looks very darling here.