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

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Samuel Hoffenstein (screen play) &
George Marion Jr. (screen play) ...
View company contact information for Love Me Tonight on IMDbPro.
Release Date:
14 October 1932 (Germany) See more »
You Could Watch it for Hours and Still Want More!! (Print Ad) See more »
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 »
1 win See more »
User Reviews:
The greatest movie musical ever made! See more (49 total) »


  (in credits order) (verified as complete)

Maurice Chevalier ... Maurice

Jeanette MacDonald ... Princess Jeanette (as Jeanette Mac Donald)

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)
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)

Directed by
Rouben Mamoulian 
Writing credits
Samuel Hoffenstein (screen play) &
George Marion Jr. (screen play) and
Waldemar Young (screen play)

Léopold Marchand (based on a play by) (as Leopold Marchand) and
Paul Armont (based on a play by)

Produced by
Rouben Mamoulian .... producer (uncredited)
Original Music by
John Leipold (uncredited)
Cinematography by
Victor Milner (photographed by)
Film Editing by
Rouben Mamoulian (uncredited)
William Shea (uncredited)
Casting by
Mel Ballerino (uncredited)
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)
Second Unit Director or Assistant Director
George Hippard .... assistant director (uncredited)
Sound Department
M.M. Paggi .... sound (uncredited)
Audrey Scott .... riding double: Jeanette MacDonald (uncredited)
Camera and Electrical Department
Lucien Ballard .... first assistant camera (uncredited)
Buddy Longworth .... still photographer (uncredited)
William C. Mellor .... camera operator (uncredited)
William Rand .... second camera (uncredited)
Guy Roe .... assistant camera (uncredited)
Casting Department
Joe Egli .... casting assistant (uncredited)
Costume and Wardrobe Department
Eugene Joseff .... costume jeweller (uncredited)
Editorial Department
William Shea .... negative cutter (uncredited)
Music Department
Lorenz Hart .... lyrics by
Richard Rodgers .... music by
Nat W. Finston .... musical director (uncredited)
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
104 min | 96 min (re-release) | USA:89 min (TCM print)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Noiseless Recording)
Australia:PG | UK:U | USA:Passed (National Board of Review)

Did You Know?

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 »
Crew or equipment visible: Camera shadow on a curtain as it pulls out of a window, as Jeanette sleeps (a little after the "I fell flat on my flute" sequence).See more »
Princess Jeanette:Well, I was just about to go to bed.
Count de Savignac:Oh, wait, I'll join you!
See more »
Movie Connections:
The Poor ApacheSee more »


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46 out of 54 people found the following review useful.
The greatest movie musical ever made!, 18 February 2000
Author: marcslope

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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