Produced by Paul Jones. Copyright 1 April 1954 (in notice: 1953) by Paramount Pictures Corp. New York opening at the Victoria: 17 April 1954. U.S. release: April 1954. U.K. release: 12 April 1954. Australian release: 11 March 1955. 7,707 feet. 86 minutes.
SYNOPSIS: Pippo (Bob Hope) is a tailor's assistant who poses as Casanova. The Duchess of Castelbello (Hope Emerson) hires him to test the love of Elena (Audrey Dalton), who is engaged to the Duchess's son (Robert Hutton). Pippo is aided in his quest by Casanova's valet (Basil Rathbone) and grocer (Joan Fontaine), who hopes to collect on Casanova's grocery bills. All three become ensnared in the intrigue of the Doge (Arnold Moss).
NOTES: Domestic rentals gross: a little over $3 million. The figure for negative cost is unavailable, but I would estimate $2 million, perhaps $2½ million. Assuming overseas rentals brought in another $1 million (and that's a generous estimate) it means that the picture at best did little more than break even, after deducting print, advertising and distribution expenses.
COMMENT: "Casanova's Big Night" boasts two melodious new song hits, both of which have the makings of hit parade greatness. One, titled "Pretty Mandolin" (Tic-A-Tic-A-Tic) is sung in the film by Bob Hope and was written by the top tune-smith combination of Jay Livingston and Ray Evans. The other, "The Gondolier's Serenade", was penned by Mack David, Bebe Blake and Joseph J. Lilley, and is heard as the picture's background music. - Paramount publicity.
Produced on the most extravagant budget Hope was ever given, Paramount hoped that this one would out-gross "The Paleface". Unfortunately, this didn't occur for two inter-related reasons. Exhibitors were unimpressed with the film, regarding it as just another Hope vehicle; and whilst Hope's many fans turned out in their usual droves, the picture didn't attract the wider general audience that flocked to "The Paleface" and :Fancy Pants". (Hope told me that exhibitors didn't support the film mightily because they were sore at him for signing with NBC for a series of television specials).
Despite its brilliance, "Casanova's Big Night" did little more than break even. This changed the whole course of Hope's career, deflecting him from big-budget verbal and visual slapstick, firstly into character roles, and then back to slapstick pictures that were hastily shot on very tight budgets.
But this picture does have many things going for it. Basil Rathbone, arguably the screen's best heavy and certainly its finest swordsman, was induced to make a comeback. He had been busy in theater, television and radio since his last screen appearance in "Dressed to Kill" (1946), though he had co-narrated the 1949 Disney feature "Ichabod and Mr Toad". It was great to have him back, especially as his brilliant "Court Jester" was soon to follow.
SYNOPSIS: Pippo (Bob Hope) is a tailor's assistant who poses as Casanova. The Duchess of Castelbello (Hope Emerson) hires him to test the love of Elena (Audrey Dalton), who is engaged to the Duchess's son (Robert Hutton). Pippo is aided in his quest by Casanova's valet (Basil Rathbone) and grocer (Joan Fontaine), who hopes to collect on Casanova's grocery bills. All three become ensnared in the intrigue of the Doge (Arnold Moss).
NOTES: Domestic rentals gross: a little over $3 million. The figure for negative cost is unavailable, but I would estimate $2 million, perhaps $2½ million. Assuming overseas rentals brought in another $1 million (and that's a generous estimate) it means that the picture at best did little more than break even, after deducting print, advertising and distribution expenses.
COMMENT: "Casanova's Big Night" boasts two melodious new song hits, both of which have the makings of hit parade greatness. One, titled "Pretty Mandolin" (Tic-A-Tic-A-Tic) is sung in the film by Bob Hope and was written by the top tune-smith combination of Jay Livingston and Ray Evans. The other, "The Gondolier's Serenade", was penned by Mack David, Bebe Blake and Joseph J. Lilley, and is heard as the picture's background music. - Paramount publicity.
Produced on the most extravagant budget Hope was ever given, Paramount hoped that this one would out-gross "The Paleface". Unfortunately, this didn't occur for two inter-related reasons. Exhibitors were unimpressed with the film, regarding it as just another Hope vehicle; and whilst Hope's many fans turned out in their usual droves, the picture didn't attract the wider general audience that flocked to "The Paleface" and :Fancy Pants". (Hope told me that exhibitors didn't support the film mightily because they were sore at him for signing with NBC for a series of television specials).
Despite its brilliance, "Casanova's Big Night" did little more than break even. This changed the whole course of Hope's career, deflecting him from big-budget verbal and visual slapstick, firstly into character roles, and then back to slapstick pictures that were hastily shot on very tight budgets.
But this picture does have many things going for it. Basil Rathbone, arguably the screen's best heavy and certainly its finest swordsman, was induced to make a comeback. He had been busy in theater, television and radio since his last screen appearance in "Dressed to Kill" (1946), though he had co-narrated the 1949 Disney feature "Ichabod and Mr Toad". It was great to have him back, especially as his brilliant "Court Jester" was soon to follow.