Love Me Tonight (1932) - News Poster


29 Things We Learned from Damien Chazelle & Justin Hurwitz’s ‘La La Land’ Commentary

Commentary Commentary“There’s no number in this movie that we didn’t try cutting at some point.”

La La Land may not have won Best Picture at the Academy Awards, but it’s still a delightfully mesmerizing experience with one of last year’s best endings. It hits Blu-ray/DVD next week, and along with an 80 minute making-of documentary the disc features a commentary with the film’s award-winning writer/director and composer.

Keep reading to see what I heard on the commentary for…

La La Land (2016)

Commentators: Damien Chazelle (writer/director), Justin Hurwitz (composer)

1. Chazelle wanted his Cinemascope opening to replicate the widening aspect ratio he recalled seeing in Frank Tashlin’s 1956 film, The Girl Can’t Help It.

2. The opening scene is modeled in some ways on 1932’s Love Me Tonight which “begins with a cacophony of street noises, Paris
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The Umbrellas of Cherbourg

Jacques Demy’s international breakthrough musical gives us Catherine Deneuve and wall-to-wall Michel Legrand pop-jazz — it’s a different animal than La La Land but they’re being compared anyway. The story of a romance without a happily-ever-after is doggedly naturalistic, despite visuals as bright and buoyant as an old MGM show.

The Umbrellas of Cherbourg


The Criterion Collection 716

1964 / Color / 1:85 widescreen / 92 min. / available through The Criterion Collection / Les parapluies de Cherbourg / Street Date April 11, 2017 / 39.95

Starring: Catherine Deneuve, Nino Castelnuovo, Anne Vernon, Marc Michel, Ellen Farner, Mireille Perrey, Jean Champion.

Cinematography: Jean Rabier

Production design:Bernard Evein

Film Editors: Anne-Marie Cotret, Monique Teisseire

Original Music: Michel Legrand

Produced by Mag Bodard

Written and Directed by Jacques Demy

What with all the hubbub about last year’s Oscar favorite La La Land, I wonder if Hollywood will be trotting out more retro-nostalgia, ‘let’s put on a show’ musical fantasy fare.
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Shopping: 8 of the Best Designer Pieces to Buy from Bergdorf’s Sale

We hate to tell you this, but that big closet cleanout you just did is going to go to waste, because you’re about to restock your freshly-emptied shelves with tons of designer items. Bergdorf Goodman is offering 40 percent off of their contemporary designer collections and we’re basically stopping everything to shop it. Clothing, accessories, jewelry and shoes from designers such as Gucci, Jason Wu, Jonathan Simkhai, and Valentino (just to name a few) are all marked way down. The sale is happening online and in stores, so make sure to check it out before all of the best deals are gone!
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La La Land’s Director Breaks Down the Movie’s Amazing Opening

La La Land’s Director Breaks Down the Movie’s Amazing Opening
A version of this article originally appeared on

La La Land, Damien Chazelle’s musical romance (and EW’s favorite movie of 2016) is packing theaters in major cities across the country. Its earning power has been mighty impressive, guaranteeing that the film will be open for box office business at least until the Oscars in February, where the film leads all hopefuls with a record-tying 14 nominations.

Chazelle’s movie features a number of song and dance sequences that are both steeped in homage for old musicals and wondrously modern. In one scene, which drew inspiration from classic Hollywood
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Golden Globes 2017: Jimmy Fallon Parodies La La Land for Opening Number

Golden Globes 2017: Jimmy Fallon Parodies La La Land for Opening Number
Jimmy Fallon‘s cold open at Sunday night’s Golden Globes is chasing all the lights that shine.

The host of this year’s 74th annual Golden Globes ceremony will parody the opening scene from hit musical La La Land, which led all features with seven total nominations including best musical or comedy motion picture.

Fallon released a 10-second teaser of the cold open to his official Tonight Show Starring Jimmy Fallon YouTube account on Sunday evening.

Directed by Damien Chazelle, La La Land opens with a show-stopping number in the middle of a Los Angeles freeway set to the
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Sweet Adeline

It's sweet, all right, not to mention sentimental and corny -- As Adeline Schmidt, Irene Dunne leaves her father's beer garden to sing in New York, where she falls prey to a predatory playboy. Set in nostalgic 1898, this Jerome Kern-Oscar Hammerstein II musical features several unfamiliar but marvelous songs. Dunne shows the film world the voice that brought her fame on Broadway -- "Why Was I Born?", "Lonely Feet" -- supported by Donald Woods, Louis Calhern and Dorothy Dare. Warners' new restoration makes this a must see for Irene Dunne fans. Sweet Adeline DVD-r The Warner Archive Collection 1934 / B&W / 1:37 flat Academy / 87 min. / Street Date October 20, 2015 / available through the WBshop / 18.95 Starring Irene Dunne, Donald Woods, Louis Calhern, Hugh Herbert, Ned Sparks, Wini Shaw, Joseph Cawthorn, Dorothy Dare, Noah Beery, William V. Mong. Cinematography Sol Polito Film Editor Ralph Dawson Art Director Robert Haas Ensembles Director Bobby Connolly
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Love Me Tonight – 1932 Musical Screens at The Hi-Pointe Saturday Morning

“A peach must be eaten, a drum must be beaten, and a woman needs something like that!”

Love Me Tonight plays at The Hi-Pointe Theater ( 1005 McCausland Ave., St. Louis, Mo 63117) Saturday, July 11th at 10:30am as part of their Classic Film Series

I’ve never seen the 1932 Paramount production Love Me Tonight, a classic mix of comedy, romance, song and satire with a first-rate cast, but I will this weekend. The story takes place in France around the time the film was made. It’s an early musical that employs an unusual script device in places – rhyming dialog exchanges that often lead into song (think the early ‘Musical Novelty’ Stooges short The Woman Haters). Love Me Tonight is apparently a satire of French royalty and high society households. Its characters are either the idle rich leading empty, hedonistic lives, or their compliant, consenting household staff. Maurice Courtelin, a Parisian
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How Twin Peaks led a fan into and out of trouble

Do films and TV influence behaviour, and for good or for ill? The answer is still hotly debated, so one film-maker decided to make a documentary about it

I used to be unable to answer the question: “What’s your favourite movie?” There were just too many options. My parents got me hooked on films when I was 11. My mom and I would sit and watch Alfred Hitchcock and Bette Davis films, and my dad would take me into New York to watch films by Jean Renoir and other foreign auteurs. At 13, my bar mitzvah had a film festival theme. Each table was named after a different favourite film at the time: All About Eve, Jaws, North by Northwest, The Searchers. Movies changed my life and I’ve always had such a deep and passionate love for so many different kinds, it was impossible to play favourites.

Today, things are different.
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Daily | Toronto 2014 | Sion Sono’s Tokyo Tribe

"Sion Sono’s Tokyo Tribe is "a gleefully ludicrous, all-gold-everything rap musical whose many virtues do not include nuance," writes Ignatiy Vishnevetsky at the Av Club. Notebook editor Daniel Kasman finds "its long takes, glimmering colors, and relentlessly unflagging energy connects lines from Love Me Tonight through Umbrellas of Cherbourg to Streets of Fire, Takashi Miike's own recent brawling high school musical For Love's Sake and the Step Up movies." Jake Cole at the House Next Door: "Sono has branched out into more placid, issue-oriented filmmaking in the wake of Fukushima, but taken with last year's Why Don't You Play in Hell?, this is a return to the freewheeling, uninhibited stylist." We've got more reviews and the trailer. » - David Hudson
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Tiff 2014. Correspondences #2

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Over Your Dead Body

Dear Fern,

Familiar faces. Indeed, it is so very good to see yours, one year later. The steadfastness of friends through this world and in this industry is for me always a surprise, and always touching, especially in light of the mutability of life and cinema.

Familiar faces...Ventura's: that's another story. Seeing this man, this actor, this figure in Horse Money was like happily visiting an aging relative only to discover that across the span of missed time you can see the creeping effects of dementia. (“Blood drips on the floor but you don’t see the razor,” a widow in the film mourning, angrily remarks.) Standing tall as ever and poised with attempted self-control, nonetheless you see Ventura's long fingers tremble, in the darkness a nosferatu wandering a prison-hospital of memories and sins, psychic and bodily pain. The expressionist shroud in which he wanders confounds time,
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Wamg Talks To Wes Anderson And Adam Stockhausen : The Grand Budapest Hotel

Welcome, beloved guests. The time has come to check-in to The Grand Budapest Hotel. Upon arrival, be sure to take in the beautiful world surrounding you, as created by director and co-writer Wes Anderson, as well as the wonderful hotel aesthetic, brought to you by production designer Adam Stockhausen. This week, Wamg and a few members of the press sat down (in a roundtable discussion) with Anderson and Stockhausen to talk about Anderson’s all new caper The Grand Budapest Hotel. Check it out below!

The Grand Budapest Hotel recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars; and Zero Moustafa, the lobby boy who becomes his most trusted friend. The story involves the theft and recovery of a priceless Renaissance painting; a raging battle for an enormous family fortune; a desperate chase on motorcycles, trains, sleds, and skis; and the sweetest
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Sound Comes to TCM's 'Story of Film' in Week Four

Sound Comes to TCM's 'Story of Film' in Week Four
In the fourth week of Turner Classic Movies' 15-week series, sound comes to The Story of Film, bringing with it a host of possibilities and, for a time, setting the art form back on its heels. Narrator Mark Cousins points out how early sound films were restricted by the tremendous bulk and noise of primitive cameras -- see Singin' in the Rain for the fictional version -- but the film, on the series, concentrates on movies that rushed to exploit the new possibilities offered, from the syncopated beat of a city coming to life in Rouben Mamoulian's Love Me Tonight to gangster James Cagney throwing himself to the ground at the noise of a truck backfiring in The Public Enemy. Here's Criticwire's annotated guide to Week Four's first night, with notes on the second to follow tomorrow. View previous weeks' coverage here. Monday, Sept. 238 p.m.: Love Me Tonight (1932) (U.
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Les Misérables – review

Tom Hooper's gamble of filming Les Misérables with on-set singing has resulted in a work of unusual power and colour

Asked who was France's greatest poet, André Gide responded with the famously rueful answer: "Victor Hugo, hélas!" Cameron Mackintosh, the impresario who brought Alain Boublil and Jean-Marc Natel's Les Misérables to London and transformed it into a worldwide phenomenon after its mild Parisian success and disastrous British first-night reception, would give a rather more positive response. I was in that first-night audience on 30 September 1985, and shared the general opinion that it was an indifferent show, shallow and somewhat forced in tone. I emerged with only one song planted in my head, Master of the House, sung by Alun Armstrong as Thénardier, the outrageously opportunist innkeeper, a number that struck me as rather like You've Got to Pick a Pocket or Two from Oliver!

I wasn't writing about the
See full article at The Guardian - Film News »

What is the 21st Century?: Hear This, It's Real

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A bi-weekly look at issues in contemporary film culture and technology.


In spite of its prestige pic credentials, Tom Hooper's Les Misérables is almost endearingly eccentric. Almost. Shot from odd angles with distortive wide-angle lenses which often give the impression that space is warping and shifting around the characters, the film strikes an awkward balance between showy glitz and intentional roughness. Most importantly, there's the film's central gimmick: instead of lipsyncing, the leads performed most of their singing live on the set.

As gimmicks go, it's an interesting one; whether talking or singing, voices coming from moving or seated or costumed bodies sound nothing like voices recorded in a studio. The sound of "live" voices—flat notes and all—singing along to an off-screen orchestra mirrors the film's glamorous / scuzzy visual aesthetic.

It's a risky idea, and a lot of the time it doesn't quite gel. Russell Crowe, for instance,
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Saoirse Ronan Joins Wes Anderson’s The Grand Budapest Hotel

The cast list for Wes Anderson’s The Grand Budapest Hotel just keeps getting … well, grander. /Film confirms that Anderson has cast Saoirse Ronan, the young star of Hanna and Atonement, as the star of his latest ensemble work.

Although there’s no indication yet about who Ronan will play, she joins a remarkable ensemble, including Ralph Fiennes, Jude Law, Angela Lansbury and Bill Murray. She’s also definitely in a starring role, not a cameo.

Ronan has quite a list of films lined up, including a starring role in Mary Queen of Scots. Working with a director of Anderson’s caliber can only advance her career.

The cast for Anderson’s latest effort has been in flux, with the greatest disappointment – for me at least – coming when Johnny Depp’s name was dropped from the cast list. A lot of the casting news have been mostly concerning cameos from big name stars,
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2013 Oscar Predictions: Best Director - Ben Affleck Tops First Predictions

I didn't want to kick off the first batch of 2013 Oscar predictions with Best Picture. I felt it would dominate the conversation moving forward for the rest of the week and wanted to make sure we built toward Picture instead. However, I didn't want to go straight to acting either, figuring that would diminish a focus on the films themselves to start off the week (not to mention I'm seeing Won't Back Down tonight and I'd rather wait and see that before commenting on the actress races). That said, what better way to begin the Oscar conversation than with Best Director? Looking at the field of directors we can not only discuss their work, but also the picture and the performances they were able to get out of their actors, which will hopefully set us up for a busy week of early dissection and continued anticipation for films seen, unseen
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Interview: Jack C. Newell, Ron Falzone Chat Up Chicago Indie ‘Close Quarters’

Chicago – Director Jack C. Newell ended up meeting one of his great collaborators while taking classes at Columbia College Chicago. His future filmmaking partner turned out to not be a fellow peer, but his teacher, Ron Falzone. Together, they made the acclaimed short, “Typing,” about two Hollywood screenwriters whose brainstorming session draws inspiration from the clacking of typewriter keys in the next room.

Newell and Falzone’s first feature effort is “Close Quarters,” an endearing and insightful collection of parallel vignettes set in a Chicago coffee shop. Baristas Abby (Erica Unger) and Barry (Seth Unger) flirt with the possibility of long-term romance while observing the dysfunctional relationships of their customers. Two friends, Patrick (Tj Jagodowski) and Olivia (Kate Duffy), chat upstairs while their respective partners, Dina (Holly Laurent) and Cary (Dave Pasquesi), make love in the downstairs bathroom. An estranged couple (Susan Messing and Jim Carlson) argue over Skype while
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Myrna Loy Biography

Myrna Loy biography: The Only Good Girl in Hollywood Many believe that Myrna Loy is the best American actress never to have been nominated for an Academy Award. Despite having played leads and supporting roles in more than 100 movies (in addition to a few dozen bit parts during the silent era), Loy was invariably bypassed by the Academy of Motion Picture Arts and Sciences. But that's the Oscar and the Academy's loss. For starters, Loy was a delightful light comedienne in movies such as W.S. Van Dyke's The Thin Man and Jack Conway's Libeled Lady. One of the greatest — and most beautifully politically incorrect — dialogue exchanges in movies can be heard in Rouben Mamoulian's 1932 musical Love Me Tonight: Jeanette MacDonald: "Don't you think of anything but men, dear?" Myrna Loy: "Oh yes, schoolboys." Loy could be a remarkable dramatic actress as well, as can
See full article at Alt Film Guide »

Daily Briefing. Denis, Guerín, Straub @ Exit Art; New Cinema Lucida

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Every year since 2000, the Jeonju International Film Festival has commissioned three short works for its Jeonju Digital Project and, about a month ago now, the festival announced it'd selected Raya Martin, Vimukthi Jayasundara and Ying Liang for this year's edition (you may remember the three directors' video messages). The 2011 films are still making the rounds, and in fact, when they screen tomorrow at Exit Art, two of them — Claire Denis's To the Devil and José Luis Guerín's Memories of a Morning, both 45 minutes — will be seeing their NYC premieres. The third is Jean-Marie Straub's An Heir (22 mins, image above). If you're planning on being there, you'll want to read Robert Koehler's dispatch from Locarno last summer, touching briefly on the Denis and Guerín films but really digging into the Straub.

Reading. "With the main focus on African and Asian cinema and documentary film, Camera Lucida no 7 also
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Meet Me in St Louis – review

This week we have a welcome rerelease of Meet Me in St Louis, which opened in America 67 years ago this month. It was the first truly great movie from the Freed unit, the MGM department specialising in musicals and headed since 1940 by Arthur Freed, who wrote some of the best songs of the 1920s and 30s and produced several of the finest films of the 20th century.

Freed acquired Sally Benson's series of New Yorker stories about the delightful middle-class Smith family proudly living in 1903 St Louis and looking forward to the following year's World's Fair but not to a proposed move to New York. He assembled the writers, composers, designers and cast, including the virtually unknown Vincente Minnelli, and told studio boss Louis B Mayer: "I want to make this into the most delightful piece of Americana ever." He achieved his aim with a movie that defines perfection,
See full article at The Guardian - Film News »
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