If you ever want to put someone off classic films forever, just show them "Lucky Night". It is a strong contender to one of the worst A-pictures of the 1930s - other than Robert Taylor's astonishing good looks (he is one of the prettiest men ever captured on film, if not the the prettiest) nothing works. In fact the film is so bad, it should be used as an example of how not to do.
Let's start with the main problem - the script, and look away cause there will be spoilers. It looks like it has been glued together, and badly, from separate stories, something typical of the early talkies (as I mentioned here, for example). A rich heiress (Myrna Loy) is bored so decides to go and find a job and the meaning of life. She fails and that night, on a park bench, she meets a fellow unemployed (Taylor) and they embark on a night of drink and gambling where nothing goes wrong. They wake up married and because her father disapproves, they decide to take a go at it. It doesn't go very well. He wants fun and she wants a home (this is after all an MGM film) so they part ways. Then there's a happy ending which is parachuted two minutes before the ending.
I assume the intention was to show the compromises that make up relationships. Instead, we have the opposite. Magic will solve everything. At the end, neither has surrendered and consequentially all is bound to happen again. The characters are also so sketchy that one doesn't really empathise with them, or even side with them. They're both idiotically naïve and Taylor's character in particular has very peculiar notions of how to survive. Loy's father describes him as "a poet who doesn't write", which pretty much summarises him. All this is exacerbated by a director (Norman Taurog) who fails to direct, guide or even try to savage the film.
The cast is not much better. Douglas Fowley as George, the friend who supports them through the mad night is the only good thing in that department. Robert Taylor and Myrna Loy suffer from the bad script but they are also to blame. In the pre-war dramas she made at MGM she looks too noble and suffering and looks stale and uninteresting as a consequence - she doesn't appear to be the same woman who did "The Thin Man", "Libeled Lady" or "Third Finger, Left Hand". Maybe she was only at ease in comedies, or may those were just better scripts, better directed. Robert Taylor on the other hand was never a great actor and that shows. Good looking, yes, charming, yes, but of limited talent. But funnily enough, he survives the crash better that Loy.