ThiefHott Too much of everything

VividSimon Simply Perfect

Smartorhypo Highly Overrated But Still Good

Salubfoto It's an amazing and heartbreaking story.

Al Westerfield There are some films that you can watch over and over again and get the same enjoyment from them. Rare are the films that you enjoy MORE each time you view them. Love Me Tonight is one of these. I'm not a particular fan of MacDonald or Chevalier but they work well together here. However, it's the supporting characters that really make the film. And of course the music and direction. Until you've seen Charlie Ruggles, Charles Butterworth and C. Aubrey Smith sing "Mimi", the three aunts and the entire cast do "The Sun of a Gun Is Nothing But a Taylor" your film education is sorely lacking. Everything about this film is so light and joyous. I'm a real fan of one of the aunts, Ethyl Griffies. For a wonderful treat see her and Zeffie Tillbury as feuding drunkards in Werewolf of London. And Charles Butterworth lends his wonderful underplaying to every role. But it's C. Aubrey Smith that steals every scene he's in in this film. The gleam in his eye when he sings "Mimi" is acting at its best. Myrna Loy has the best one-liners here and the most spectacular dress. But like the others, she's just part of the supporting cast. What I liked best is that the film never take itself seriously without being a parody. Romance, music, comedy, fun, perfect cast and directing. What's not to like?

chaos-rampant Watch this once straight through because it is a lot of fun, as cinematic operettas go, you'll be hard pressed to find more airy and smart, maybe Lubitsch.Watch it the second time to see how the narrative is so nicely stitched. The lovable rascal is a French tailor—accidentally enmeshed in aristocratic life when he goes to ask for his money. Disguised as a baron, he falls for the uptight princess. Meanwhile, she complains to the family doctor that she's not feeling well—we understand it's nothing a good night of sex won't fix.Myrna Loy is the nymphomaniac cousin of the princess, all the amoral qualities of what the heroine is feeling cast off as a separate character. When the two of them appear together in a ball looking radiant in resplendent dresses, Myrna steals the show in her seductive all black. Of course our guy goes for pure at heart and all is well.Before that, there is a marvelous scene where he measures the princess up for a new dress, in contemporary times the scene would be more risqué, some nudity involved. At any rate, the point is that she bares herself for him. He prepares a marvelous outfit, which gets her thinking that this man knows too much about 'measuring women', which leads to the anticipated exposing climax.Three old (sexless) spinsters set all of this up, sewing all through the movie— Macbeth's three crones of fate in a different light. Clothes. Disguised sex. Sewing as narrative about the work of love. Hidden selves exposed.In the end, the three spinsters hold up the finished article they had been patiently weaving all through the film, an embroidery showing an idealized scene of courting in a way inspired by the plot yet going against the reality of what we saw—in reality, the princess chased after him, riding a horse and defiantly stopping a train to get her man. Her imposing image as she does that is straight out of Pudovkin and his stout Soviet heroines. Look for the same Soviet influence in the opening scene with the town waking up to mechanical sounds, a great piece.

st-shot Maurice Chevalier turns on the the Gallic charm offensive while Jeanette hits the high notes in this highly entertaining musical comedy featuring the music of Rodgers and Hart, Love Me Tonight. Under the direction of Rouben Mamoulian and the watchful eye of the Breen office the film is filled with comical innuendo and suggestion wryly pulled off by the director and screenwriter's play on words and the overpowering guileless personage of Chevalier.When Maurice (Chevalier) a tailor decides to collect on a debt owed him by a near do well aristocrat he crashes the family compound. He is persuaded by the deadbeat to impersonate one of their lineage in order to secure payment instead of getting them both tossed from the mansion. He is quickly besotted by Princess Jeanette who is less than thrilled with him at first but falls prey to his seductive ways before being jolted by the fact he is a commoner.While Chevalier and Mc Donald duet delightfully throughout in song and patter (especially in a scene where he fits her for a riding outfit ) Mamoulian does a fine job of skewering the upper crust leisure class at play with some comic choreography and a supporting cast displaying a variety of snobbery, entitlement and a touch of pixalation. A trio of timid aunts scurry about fretting in unison, the family patriarch played by C. Aubrey Smith bangs out a stanza of Mimi, even the hired help gets in on the condescension. As early sound musicals go Love Me Tonight remains one of the best with Chevalier at his peak and Mac Donald on the crest of hers. It has wit in addition to some wonderfully delivered tunes and in flashes, moments that foreshadow Rules of the Game seven years away. Above all though it is an excellent entertainment that nearly eighty years down the road still retains a fresh energy.

The Great Tanuki For what it is worth, here is a bit of "Americana". I found a letter from my father to my mother written on September 11, 1932 ,(nine years before they were married, by the way). In it he mentioned having gone to see this film. His review is as follows..."I went to see Maurice Chevalier tonight in his latest, 'Love Me Tonight'. Say, I have more technique than that guy, any night. He is losing all he had, can I give him pointers?".I had to correct some spellings errors in the quote, otherwise IMDb wouldn't accept it. Pity. That way it loses a bit of the flavor and intention of a "Quote"I take it that my Dad liked the movie.