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Love Me Tonight (1932)

Passed  |   |  Comedy, Musical, Romance  |  14 October 1932 (Germany)
7.8
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Ratings: 7.8/10 from 2,501 users  
Reviews: 46 user | 25 critic

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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(screen play), (screen play), 3 more credits »
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Title: Love Me Tonight (1932)

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Cast

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

Maurice Courtelin, a Parisian tailor (Maurice Chevalier), is owed a great sum of money by a viscount (Charles Ruggles). Stalling for time, the titled but penniless nobleman moves Maurice into the family chateau and passes him off as a baron. The beguiling Maurice soon charms the entire aristocratic household, except for the haughty Princess Jeanette (Jeanette MacDonald), who remains suspicious of him. But suspicion eventually gives way to love. Written by Dan Navarro <daneldorado@yahoo.com>

Plot Summary | Add Synopsis

Taglines:

Warm Love! Hilarious fun! Sweet music! Hot lyrics! 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:

 »
Show detailed on  »

Technical Specs

Runtime:

| (re-release) | (TCM print)

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

This film was selected to the National Film Registry, Libary of Congress, in 1990. See more »

Goofs

The lighting on Jeanette during the balcony scene. See more »

Quotes

Princess Jeanette: Well, I was just about to go to bed.
Count de Savignac: Oh, wait, I'll join you!
See more »

Connections

Referenced in Queer as Folk: Escalating Violence (2004) See more »

Soundtracks

A Woman Needs Something Like That
(1932) (uncredited)
Lyrics by Lorenz Hart
Music by Richard Rodgers
Sung by Joseph Cawthorn and Jeanette MacDonald
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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