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Love Me Tonight (1932)

A Parisian tailor finds himself posing as a baron in order to collect a sizeable bill from an aristocrat, only to fall in love with an aloof young princess.

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Writers:

(screen play), (screen play) | 3 more credits »
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Cast

Complete credited cast:
...
...
Princess Jeanette (as Jeanette Mac Donald)
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Viscount Gilbert de Varèze (as Charlie Ruggles)
...
Count de Savignac
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Countess Valentine
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Duke d'Artelines
...
First Aunt
...
Second Aunt
Blanche Friderici ...
Third Aunt (as Blanche Frederici)
...
Dr. Armand de Fontinac (as Joseph Cawthorne)
Robert Greig ...
Major Domo Flammand
...
Emile
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Storyline

When Parisienne tailor Maurice Courtelin learns that one of his aristocratic clients, the Viscount Gilbert de Varèze, is a deadbeat who never pays for the merchandise he acquires, he heads off to try and collect what is owed to him. He gets little in the way of cash from the Viscount who is desperate that his uncle, the Duke D'Artelines not learn of his debts. He suggests that Maurice spend a little time at the chateau until the money can be found. The Duke takes an immediate liking to Maurice - who's been introduced as a Baron - but that's not the case for the Princess Jeanette who, after an encounter with him him on the road earlier that day. Over time Jeannette falls in love with him Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

You Could Watch it for Hours and Still Want More!! (Print Ad) See more »


Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

14 October 1932 (Germany)  »

Also Known As:

Ama-me Esta Noite  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

| (re-release) | (TCM print)

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

MPAA/PCA files at the AMPAS Library reveal that while most of the songs in the film were approved prior to release, the Hays Office objected to the suggestive nature of the song, "A Woman Needs Something Like That," although it was left in the film. Jesse Lasky, Jr. responded in a letter to the MPPDA's concern about the line "Must we sleep tonight all alone?" in the song "Love Me Tonight," by noting that the line had been changed to "Let's drink deep tonight all alone." Concern that French Royalists might take offense to the film prompted the Hays Office to give a copy of the script to the Los Angeles French consul, Henri Didot. Based on Didot's comments, it was determined that only the scene in which the princess strikes a servant should be deleted. In addition, Didot maintained that as long as the duke and princess were not implied to have royal blood, the film should not give offense. The film was rejected in Czechoslovakia, approved without eliminations in Quebec, New York and Kansas, and approved with eliminations in Australia, Britain, Chicago, Ontario, British Columbia, Ohio, Alberta, Pennsylvania and Massachusetts. See more »

Goofs

Jeanette's hairstyle changes slightly when she goes out into the garden, during the party. See more »

Quotes

Princess Jeanette: What are you doing now?
Maurice Courtelin: I'm thinking. I'm thinking of you without these clothes.
Princess Jeanette: Open your eyes at once!
Maurice Courtelin: Oh no, pardon madam. With different clothes. Smart clothes.
See more »

Connections

Featured in The Love Goddesses (1965) See more »

Soundtracks

That's the Song of Paree
(1932) (uncredited)
Music by Richard Rodgers
Lyrics by Lorenz Hart
Sung by Maurice Chevalier, Marion Byron, George 'Gabby' Hayes and chorus
See more »

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User Reviews

 
The greatest movie musical ever made!
18 February 2000 | by See all my reviews

No, really -- I defy anyone to name a movie musical more exuberant, more creative, more romantic, melodic, hilarious, or escapist; not even "Singin' in the Rain" equals it. From opening shot (a rhythmic ballet-mechanique of Paris coming to life at dawn) to fade-out (a happy-ending finale that also parodies Eisenstein), it's bursting with ingenious ideas.

The pre-Code screenplay, rife with double entendres and social satire, is a princess-and-commoner love story written to the strengths of its two stars: Chevalier, never more charming, and MacDonald, never a subtler comedienne. With one foot in fantasy and the other in reality, it manages to sustain an otherworldly feeling even while grounded in the modern-day Paris of klaxons, tradesmen, and class consciousness. The supporting cast is phenomenal, with Myrna Loy as a man-hungry countess, C. Aubrey Smith doing his old-codger thing, Charles Butterworth priceless as a mild-mannered nobleman ("I fell flat on my flute!"), and Blanche Frederici, Ethel Griffies, and Elizabeth Patterson as a benign version of the Macbeth witches' trio.

All are wonderful, but the real muscle belongs to the director and the songwriters. Mamoulian's camera has a rhythm of its own and many tricks up its lens: note the fox-hunt sequence suddenly going into slow-motion; the Expressionist shadowplay in Chevalier's "Poor Apache" specialty; the sudden cuts in the "Sonofagun is Nothing But a Tailor" production number. As for the Rodgers and Hart score, it's simply the best they ever wrote for a film -- maybe the best anybody wrote for a film. The songs are unforgettable in themselves -- "Isn't It Romantic?", "Mimi," "Lover," etc. -- but, and here is where genius enters, they're superbly integrated and magnificently thought out. Note the famous "Isn't It Romantic" sequences, the camera roaming effortlessly through countless verses from tailor shop to taxi to field to gypsy camp to castle, finally linking the two leads subliminally, though their characters have never met. "A musical," Mamoulian once said, "must float." This sequence may float higher than any other in any musical.

Best of all, you can sense the unbridled enthusiasm the authors must have had for this project: Rodgers and Hart seem positively giddy with the possibilities of cinema, eager to defy time, place, and reason as was never possible for them onstage. What a pity that this magnificent movie isn't available on video, so that future generations can't easily rediscover its brilliance.


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