IMDb > Love Me Tonight (1932)
Love Me Tonight
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Love Me Tonight (1932) More at IMDbPro »

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Overview

User Rating:
7.9/10   1,126 votes
MOVIEmeter: ?
Up 27% in popularity this week. See why on IMDbPro.
Director:
Rouben Mamoulian
Writers:
Paul Armont (play)
Samuel Hoffenstein (writer)
(more)
Contact:
View company contact information for Love Me Tonight on IMDbPro.
Release Date:
17 August 1932 (USA) more
Genre:
Musical | Comedy more
Tagline:
Warm Love! Hilarious fun! Sweet music! Hot lyrics!
Plot:
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. full summary | add synopsis
Plot Keywords:
more
Awards:
1 win more
NewsDesk:
Fall Preview: Repertory Calendar
 (From IFC. 5 August 2009, 11:17 AM, PDT)
User Comments:
The Best Hollywood Musical of the Early 1930s more (33 total)

Cast

  (in credits order) (verified as complete)

Maurice Chevalier ... Maurice Courtelin a.k.a Baron Courtelin

Jeanette MacDonald ... Princess Jeanette
Charles Ruggles ... Viscount Gilbert de Varèze (as Charlie Ruggles)
Charles Butterworth ... Count de Savignac

Myrna Loy ... Countess Valentine
C. Aubrey Smith ... Duke d'Artelines
Elizabeth Patterson ... First Aunt
Ethel Griffies ... 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
rest of cast listed alphabetically:
Tyler Brooke ... Composer (uncredited)
Marion Byron ... Bakery Girl (uncredited)
Cecil Cunningham ... Laundress (uncredited)
Carrie Daumery ... Dowager (uncredited)
George Davis ... Pierre Dupont (uncredited)
Mary Doran ... Madame Dupont (uncredited)
Sam Harris ... Bridge Player (uncredited)

George 'Gabby' Hayes ... Grocer (uncredited)
Mel Kalish ... Chef (uncredited)
Tony Merlo ... Hatmaker (uncredited)
Herbert Mundin ... Groom (uncredited)
Edgar Norton ... Valet (uncredited)
Rita Owin ... Chambermaid (uncredited)
Tom Ricketts ... Rochambeau (photo) (uncredited)
Rolfe Sedan ... Taxi Driver (uncredited)
William H. Turner ... Bootmaker (uncredited)
Ethel Wales ... Madame Dutoit, Dressmaker (uncredited)
Gordon Westcott ... Credit Manager of the Association of Retail Merchants (uncredited)
Clarence Wilson ... Shirtmaker (uncredited)
Florence Wix ... Party Guest (uncredited)
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Directed by
Rouben Mamoulian 
 
Writing credits
(in alphabetical order)
Paul Armont  play
Samuel Hoffenstein  writer
Léopold Marchand  play
George Marion Jr.  writer
Waldemar Young  screenplay

Produced by
Rouben Mamoulian .... producer
 
Original Music by
John Leipold (uncredited)
 
Cinematography by
Victor Milner 
 
Film Editing by
Rouben Mamoulian (uncredited)
William Shea (uncredited)
 
Casting by
Fred A. Datig (uncredited)
 
Art Direction by
Hans Dreier (uncredited)
 
Set Decoration by
A.E. Freudeman (uncredited)
 
Costume Design by
Travis Banton (uncredited)
Edith Head (uncredited)
 
Sound Department
M.M. Paggi .... sound (uncredited)
 
Stunts
Audrey Scott .... riding double: Jeanette MacDonald (uncredited)
 
Camera and Electrical Department
Buddy Longworth .... still photographer (uncredited)
William C. Mellor .... camera operator (uncredited)
Guy Roe .... assistant camera (uncredited)
 
Editorial Department
William Shea .... negative cutter (uncredited)
 
Music Department
Nat W. Finston .... musical director (uncredited)
 
Crew believed to be complete


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Additional Details

Parents Guide:
Add content advisory for parents
Runtime:
104 min | 96 min (re-release) | USA:88 min (Turner Library Print)
Country:
USA
Language:
English
Color:
Black and White
Aspect Ratio:
1.37 : 1 more
Sound Mix:
Mono (Western Electric Noiseless Recording)
Certification:
UK:U | USA:Passed (National Board of Review)
Filming Locations:
Paramount Ranch - 2813 Cornell Road, Agoura, California, USA
Company:
Paramount Pictures more

Fun Stuff

Trivia:
Among scenes and dialogue commonly deleted by local censors were references to the "virgin spring"; the scene of the Princess's examination by the physician; and Maurice taking measurements of the princess. In 1937, letters from Joseph I. Breen of the AMPP to Paramount indicate that Breen advised against the re-issue of the film because he felt that the severe editing required to pass the censors would ruin the film. In a 1949 letter, Breen approved a re-release with the following deletions: Any reference to "virgin springs"; the song "A Woman Needs Something Like That"; and the scene of Myrna Loy in a "transparent nightgown." According to a memo in the file, the four-reel re-release was unsuccessful more
Goofs:
Continuity: The lighting on Jeanette during the balcony scene. more
Quotes:
Count de Savignac: I fell flat on my flute. more
Movie Connections:
Featured in AFI's 100 Years... 100 Songs: America's Greatest Music in the Movies (2004) (TV) more
Soundtrack:
A Woman Needs Something Like That more

FAQ

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User Comments

   (Comment on this title)
6 out of 8 people found the following comment useful.
The Best Hollywood Musical of the Early 1930s, 8 September 2005
9/10
Author: theowinthrop from United States

There are so many elements regarding LOVE ME TONIGHT that crossed to create one of the great musicals of American film. It probably was the best score for a Hollywood film done by Rodgers and Hart, including "Isn't It Romantic", "Mimi", and "Lover", as well as "The Sonofagun is Nothing But a Tailor" (only their scores for HALLELUJAH, I'M A BUM and THE PHANTOM PRESIDENT are as interesting, but the former only produced one standard, and the latter produced none). From their first arrival in motion pictures Richard Rodgers and Lorenz Hart experimented with singing that replaced dialog. Here it finally got it's opportunity to show what it could do. That's due to them having a master director (who would turn out to be more of a stage and musical director than a film one - though his films remain more than interesting), Rouben Mamoulian. Always willing to experiment in his film (in DR. JECKYLL AND MR. HYDE, having the camera take the point of view of Fredric March for part of the film; using color to show suggestions of the threat of military violence in BECKY SHARP) Mamoulian was willing to go along with his musical pair in the extended songs like "How are you?" and "Isn't It Romantic". The latter beginning in Chevalier's tailor shop eventually involves people passing the melody from the street to a musician in a taxicab to a marching brigade of troops to gypsies to Jeanette at her palace. The cast was perfect, with Chevalier and MacDonald joined by their former ONE HOUR WITH YOU co-star Charlie Ruggles, as well as Myrna Loy, Charles Butterworth (who has some funny lines for a change), and C. Aubrey Smith. It is rare for everything in a musical to fit together so well.

Chevalier is a tailor who made the mistake of making a complete wardrobe for Ruggles a supposedly wealthy aristocrat. Ruggles owes him a lot (as well as all the other people who made parts of the clothing for Ruggles - at Chevalier's recommendation). So they send him after Ruggles, who has gone to his rich uncle's home in the country. This is C. Aubrey Smith, a reactionary old Duke. He is also the protector of Princess Jeanette, now a widow (don't feel bad for her, as Dr. Joseph Cawthorn finds out). Also staying with the Duke is Count Charles Butterworth, a scholarly aristocrat (and just as hesitant and bumbling in his delivery of dialog here as in other films, but here his comments are funny). Finally there is Smith's niece, Myrna Loy, who never saw a pair of men's pants that she did not care to open.

Chevalier's appearance is an embarrassment to Ruggles, who may be disinherited by Smith over his debts. So he keeps Chevalier from admitting that he is a tailor, and finally suggests that Chevalier is a king traveling incognito. As Chevalier and MacDonald slowly fall in love, the suspicion that he is a monarch makes him possibly a perfect match for the widowed Princess. Chevalier also enlivens the dull château with his songs (including an "Apache" number, as well as "Mimi" which everyone ends up singing - including C. Aubrey Smith!). But what would happen if the truth comes out? That is what leads to the conclusion of the film.

Many of the early surviving films of the 1930s are cut from what they originally were like. And the film that was cut is usually lost forever. In the case of LOVE ME TONIGHT, the loss is truly sad because of the quality of the film that survives. But at least we do have that surviving footage to marvel at and enjoy.

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