Critic F.X. Feeney once called it "perhaps the most romantic film ever shot in the English language." It just might be, despite the creaky plot and scenery-chewing by key supporting player Colin Clive (as shipping magnate Bruce Vail; think Dr. Henry Frankenstein on speed).
History pairs suave French leading man Charles Boyer (Paul Dumond) with quirky American leading lady Jean Arthur (Irene Vail). Comic relief is provided by the movies' greatest double-talker, Leo Carrillo, as Boyer's best friend, "the world's most famous chef, Cesare!"
The story is part romance, part thriller, often lighthearted, frequently absurd -- and irresistibly fun. In Paris, gallant head waiter Boyer stumbles to Arthur's rescue in the midst of a blackmail plot hatched by Clive, her rich, insanely and unjustifiably jealous husband, who's trying to derail her divorce plans.
Boyer inadvertently discovers what he thinks is a sexual assault on Arthur, slugs the presumed assailant, and spirits her away. But the would-be rapist is actually Clive's chauffeur, ordered by his boss to play "co-respondent" -- to undercut Arthur's divorce petition in a London court. Boyer and Arthur dance, enjoy "Pink Cap '21" champagne and generally swoon. Clive kills the chauffeur -- and frames Boyer for the murder. To protect Boyer, Arthur agrees to return to Clive. Boyer and Carrillo trace Arthur to New York. The lovers are reunited on the maiden voyage of Clive's new luxury liner, the Princess Irene, which faces a Titanic-like fate on its maiden voyage back across the Atlantic.
Feeney's observation probably is inspired by the fog-shrouded finale, in which Boyer and Arthur gaze longingly at each other on a stairwell, as the ship goes down. But is it really the end for them? Remember, this is Hollywood.
Frank Borzage specialized in high-gloss, soft-focus romances, and won the first-ever directing Oscar for Seventh Heaven. His philosophy was: "Make the audience sentimental instead of the player. Make the audience act."
Producer Walter Wanger's prolific career extended from 1929's Marx Brothers' debut The Cocoanuts through the 1963 debacle Cleopatra.
It should be noted the film features a magnificent key musical theme by Alfred Newman, one that perfectly matches the tender interplay of the two leads.
Borzage understood that thwarted love, self-sacrifice and reconciliation were the holy trinity of the movies' best romances. History is Made at Night oozes all three, and must be regarded as one of the best films of its kind from the escapist, Depression-era Hollywood of the late 1930s.