The Night of Love (United Artists) (1927)

General Advance Stories “NIGHT OF LOVE ’ COMES TO Ronald Colman and Vilma Banky In Goldwyn’s Romantic Film Ronald Colman and Vilma Banky, lovers in three films, come to the .Theatre. in “The Night of Love,” Samuel Goldwyn’s presentation of George Fitzmaurice’s production of si tale based on the feudal “right to the first night.” Colman appears in an entirely new character for him, that of a bold Gypsy bandit, a tousled-haired fel¬ low with pointed moustaches and lengthened “side burns.” Vilma plays the role of a beautiful Duch¬ ess, victim of the fearful “right to the first night.” From Lenore Coffee’s scenario, George Fitzmaurice made “The Night of Love” in Hollywood, occu¬ pying six months of time and em¬ ploying nearly $900,000 of money in the picturization of the romantic tale of the sixteenth century. The entire film was under the personal super¬ vision of Samuel Goldwyn, veteran producer of “Stella Dallas,” “The Winning of Barbara Worth,” “The Dark Angel” and other handsome and dramatic films. “The Night of Love” tells a glow¬ ing tale of a wronged Gypsy prince, Montero, whose bride is taken from him by the lord of the domain, the cruel Duke de la Gaxda,—and of the poetic revenge of that gypsy prince turned bandit. For when Vilma Banky, as the Princess Marie of France, is forced into marriage with the Duke de la Garda, it is Ronald Colman, as the gypsy Montero, who abducts her on another and differ¬ ent first night. But into the heart of Montero, even in his hour of revenge, comes love for the Duke’s bride. Supporting Colman and the beau¬ tiful Vilma Banky in roles that crit¬ ics everywhere have acclaimed their best characterizations is a distin¬ guished cast including Montagu Love, Natalie Kingston, Laska Win¬ ter, Hyman Bynunsky, Sally Rand and the Marion Morgan Dancers, who glide rhythmically about the lavish sets during the bacchanalian orgy sequence. Highlights of the film are said to be the already famous “miracle” scene at the dramatic close of the film, with Vilma Banky saving Col¬ man through miraculous intervention —the simple dropping of the Vir¬ gin’s veil to Vilma’s shoulders,— and the reproductions of old cham¬ bers of horror, burnings at the stake, wine festivals and gypsy rites under the pagan moon. Fitzmaurice, who directed Vilma Banky in her first American film, in which she played with Colman, once again wielded the baton on the famous pair. Particular interest seems to cen¬ ter in the new Colman produced by this film and the remarkably differ¬ ent Vilma Banky. To the suave, well-mannered and finished actor that Colman has been, the new role adds a hero who is adept at sword- lay, thrilling in his contempt of life itself, and almost harsh in his NL3—One Col. Cut 30c. Mat 5c. bitter revenge. And the one role that Vilma Banky wished, the one she has publicly said she most liked herself, is that of the Duchess, tortured alike by the man she hates and the man she loves. The love-making scenes of the perfect pair are filmed against a background of swaying figures, strumming guitars and rhythmically stirring mountain life. Manager.of the. Theatre declared his theatre hon¬ ored with this opportunity to offer ts patrons so satisfying an enter¬ tainment as “The Night of Love.” United Artists Corporation re¬ leased the film. Turn to PINK PAGE Underneath Press Stories For SIX DAY PICTURE SERIAL STRIP On “THE NIGHT OF LOVE” SAMUEL GOLDWYN presents THE GEORGE FITZMAURICE PRODUCTION “THE NIGHT OF LOVE” From an original story by LENORE COFFEE WITH RONALD COLMAN AND VILMA BANKY Director: GEORGE FITZMAURICE Scenario By: LENORE COFFEE Cameramen: GEORGE S. BARNES and THOMAS E. BRANNIGAN THE CAST Montero .Ronald Colman Princess Marie .Vilma Banky Duke de la Garda.Montague Love Dame Beatriz .Natalie Kingston Gypsy Bride .Laska Winter Gypsy Dancer .Sally Rand Jester .John George STORY OF THE PLAY Spain of 500 years ago, when feudal lords were masters of great domains and no right was sacred from their greed, is the locale, with Colman essaying the role of a gypsy prince who refused to bow to any law except his own, and Miss Banky portraying a lovely duchess, puppet in the ancient marriage mart. The story opens with a prologue showing a primitive gypsy wedding festival in the picturesque mountainous section of old Spain. Montero (Ronald Colman), son of the gypsy leader, is about to take a bride, most beautiful maiden in the tribe. She lies upon a silken couch, her eyes closed, to be opened according to gypsy custom, by her husband’s kiss. Young girls, in wild, primeval abandon, dance about the couch, while the older men and women stand aside in groups, chanting weird ceremonials. The bridegroom then claims his bride with a kiss, lifts her into his arms and prepares to carry her, according to gypsy bridal rites, into the hills. But the joyous wedding celebration is brought to a sudden and tragic denouement. Into the throng rides Duke De La Garda, feudal lord, and his soldiers. He demands the right of all feudal masters—to take Montero’s bride to his castle for the night, returning her next day to her husband. Montero protests, but the gypsies are outnumbered and outwitted by De La Garda and his soldiers, and the frightened gypsy girl is abducted to the duke’s castle. Rather than accede to the duke’s advances, the girl chooses death as an escape, and kills herself with a jeweled dagger she snatches from the duke’s belt. The duke has the girl’s dead body returned to the unhappy gypsies. Montero looks upon his bride’s mutilated form, and swears vengeance on the duke. Turning outlaw and bandit, he plunders the domain in periodic attacks of lawlessness—but El Daga (The Dagger) never molests or injures the peasants who learn to love him for his mercy and charity. Several years later Duke De La Garda, who has completely forgotten the incident of the gypsy wedding, takes as his bride Princess Marie, lovely niece of the King of Spain, who brings with her golden ducats as a wedding gift. A spectacular feast celebrates the nuptials, terminating in a lustful and drunken orgy. Marie, convent-bred and innocent, is appalled by the ribald happenings, resenting her husband’s coarse advances and the low comments of the wedding guests. . At the conclusion of the feast, Marie and the Duke start for the bridal chamber, where Montero, with revenge in his heart, awaits with his outlaws the arrival of the bridal pair. They had gained access to the castle while the guests celebrated, and had secreted themselves in the bridal chamber. As the Duke and Marie enter the room Montero and his gang descend upon them from all corners. The outlaws take the rest of the castle, and while the revelers are held in check, Montero with Marie and the Duke as prisoners, rides away to the outlaws’ rendezvous—an abandoned castle on the edge of a ragged cliff overlooking the sea. There, Montero tells the Duke of his plans, the Duke in cowardly fashion begging that his own life be spared at the price of his bride. The bandit, after forcing his prisoners to feast with him, has the Duke branded with his insignia of a dagger, and returned on a donkey to the palace. Marie, high-spirited and haughty, dares Montero to carry out his revenge. Fearing he intends to make good his threats, she jumps from a window, but her shawl catches in a jutting cliff, preventing her from being hurled to the depths below. Montero sends men to her rescue, and she is brought back unconscious though only slightly hurt. The outlaw nurses her back to health, determined to return her to her husband. As soon as Marie recovers they start for the Duke’s palace, walking on foot over cragged passes. They stop to rest at a gypsy camp. A young gypsy dancer flirts with Montero and he smiles back, thus exciting Marie to a knowl¬ edge that she loves the gypsy outlaw. They vow their eternal love to each other, but realize that the church vows of Marie’s marriage cannot be violated. Marie returns to the palace at a time when the Duke is holding a Bac¬ chanalian orgy. He sees his young bride come in, but she manages to reach her room and lock herself in, before he, who pursues her in drunken frenzy, can prevent it. The next day she goes to the confessional, but is betrayed by Donna Beatriz, former mistress of the Duke, who seeks revenge to satisfy her jealousy. The Duke, disguised as a priest, hears her confession of love for Montero, and after throwing Marie in the dungeon, lays a trap for the lover. Montero escapes the trap but is later captured when he attempts to rescue Marie, and is placed in the courtyard to be burned at the stake. The peasants, who gather as news of the capture spreads, are powerless to help. The Princess Marie, aided by Montero’s men, escapes and prays before a draped statue of The Virgin, standing in a cleft in the palace wall opposite where Montero is already beginning to feel the heat of the searing flames. The golden brocade falls from the Virgin around Marie’s shoulders as she kneels in prayer—and the light from the fire( illumines her face, giving her a Madonna¬ like appearance. Montero, seeing this effect and in one last desperate effort, bursts forth in inspiring speech, firing the mob to fierce rioting as he fills them with religious enthusiasm at sight of “the miracle.” They rescue him and while they battle with the Duke’s soldiers, he goes to the rescue of Marie who is still in prayer before The Virgin. The two are pursued by the Duke’s soldiers into the Palace, and In their efforts to escape run into the bridal chamber, pursued by the Duke. The men fight for the possession of the girl while she cringes in a corner, praying that her lover may win. The Duke, a man of giant stature, is besting the nimble gypsy when the frenzied mob overrunning the place sweeps the Duke onto the palace steps. In the stampede he meets death. Marie is now free to join her lover, and they stand clasped in each other’s arms, gazing down from a window on the rioting peasants In the courtyard below. HERE ARE YOUR PRESS STORIES AND CUTS