Schloß im Mond

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.

I have watched this movie in part several times, but caught it tonight on TCM or from my DVR of a recent showing. It is a special one, and was interested in checking out these magnificent sets created for it. They were wonderful.

Liked Chevalier in this particularly. I agree with the reviewer who finds Jeannette McDonald's singing a bit of a trial. I don't care for most opera type singing. Get ready for some corn here: Was reminded of something Andy Griffith said about opera singing (from a comic recording), "Some people say opera is just hollerin', and it is; but it's high class hollerin'." It comes across that way to me. That quote may offend the cinematic detail oriented enthusiasts of this film - sorry.

However, I have enjoyed a few old operettas, thinking of "Sweet Kitty Bellairs" from 1930 featuring Claudia Dell and Walter Pidgeon. Ms. Dell was easier on the ears than Ms. McDonald. Pidgeon's singing was pleasing, and I found the piece entertaining.

In watching C. Aubrey Smith in this, I thought for the umpteenth time whether he was born an old man. He is always ancient in every movie I have ever seen with him. Actually, his Hollywood films were done in his elderly years. Finally looked him up and found he was born in 1863. Wow. He did London stage, Broadway and came to Hollywood much later. He died in California at age 85.

This is a good film and has interest for its genre. It is probably my favorite Chevalier. It was odd seeing Charles Ruggles in this. They were talking about Myrna Loy during the intro to the movie, saying this film may have begun her being used in something other than the Oriental evil women or vamp types. Only a few people were making the decisions on casting back then in the studio system, and thankfully, they finally broke her out of that old mold and began to find out how engaging she was as a wife and later as a comedienne.

Good film.

LOVE ME TONIGHT (Paramount, 1932) directed by Rouben Mamoulian, marks the third teaming of Maurice Chevalier and Jeanette MacDonald, following THE LOVE PARADE (1929) and ONE HOUR WITH YOU (1932), as well as their best collaboration of four musicals together, in fact, the privilege of being one of the best musicals ever made in the 1930s.

The story focuses on a French tailor named Maurice (Maurice Chevalier) who is swindled out of his fee by the Vicomte DeVarez (Charles Ruggles). He soon sets out for the castle of the Vicomte's uncle, The Duke (C. Aubrey Smith) to collect the fee. While there, at the advice of the Vicomte, who promises to pay him within a few days, to remain at the castle under the guise of a royal Baron. Maurice, who had earlier encountered Jeanette (Jeanette MacDonald), a beautiful but lonely princess, immediately falls in love with her, in spite of her resistance. Things start to look bright for Maurice and Jeanette until it is discovered that Maurice is not nothing but a tailor.

The supporting cast consists of Myrna Loy (on loan from MGM) as Countess Valentine; Charles Butterworth as Count DeSavignac, the deadpan character who loves Jeanette as well as his flute; Elizabeth Patterson, Ethel Griffies and Blanche Frederici as the maiden aunts; Robert Greig as Flamond; with Clarence Wilson and Gordon Westcott, among others. The biggest surprise is Myrna Loy, better known for her sophistication rather than her Oriental vamps from her early years, playing an offbeat character as a man-chasing gal who goes for anything in pants, something to the liking of Lillian Roth, who had demonstrated a similar chore in THE LOVE PARADE. Loy even gets some of the film's most witty lines. In a scene where Jeanette becomes ill, and a doctor is needed, her cousin (Ruggles) asks her, "Could you go for a doctor?" She replies, "Certainly, bring him right in."

With the music and lyrics by Richard Rodgers and Lorenz Hart, songs include "The Song of Paree," "How Are You?" (both sung by Maurice Chevalier); "Isn't It Romantic?" (sung by Chevalier, Bert Roach, Rolfe Sedan, Tyler Brooke, cast members and Jeanette MacDonald); "Lover" (sung by MacDonald); "Mimi" (sung by Chevalier); "A Woman Needs Something Like That" (recited by MacDonald and Joseph Cawthorne); "Mimi" (reprise, sung by C. Aubrey Smith, Charles Ruggles, Elizabeth Patterson, Ethel Griffies, Blanche Frederici and Charles Butterworth. Myrna Loy's suggestive version to the song wearing a transparent negligee has been deleted from reissue prints); "I'm an Apache" (sung by Chevalier); "Love Me Tonight" (sung by MacDonald); "The Son-of-a-Gun is Nothing But a Tailor" (sung by cast); and "Love Me Tonight" (sung by Chevalier and MacDonald).

Of the many songs, all are first-rate, but the title tune did not become as memorable as "Isn't It Romantic?" which should have been the film's title since it more fits the mood to the story than "Love Me Tonight." But whatever title, some might shy away from it believing this to be an unbearable sugary love story, but on the contrary, is more than that. It's a love story with a first-rate script, risqué dialog and wonderful tunes that fits together like a jigsaw puzzle. Others might avoid LOVE ME TONIGHT because of its age. Certainly it's old, but in spite of that, it not only gives the impression of being ahead of its time, but that European film-making style to it, ranging from people riding their horses in slow motion photography, lovers communicating in song through their thoughts in split screen, as well as superimposing on MacDonald's face as she must make a big decision while at the same time Chevalier is awaiting for his train with each other's voice singing the title tune in the soundtrack. Up to this time, nothing this original has ever been used for a musical. The wit and wisdom of Ernst Lubitsch might have made LOVE ME TONIGHT a witty love affair, but Mamoulien combines his musical romance with advance technology and style, which is why LOVE ME TONIGHT continues to find a new appreciative audience decades after its initial release. With lines such as, "Once upon a time there was a princess and a prince charming, who was not a prince, but who WAS charming," LOVE ME TONIGHT is a musical fairy tale indeed, something not found in storybooks for children but more on the adult level.

Aside from late night viewing on commercial television from the 1960s to mid 1980s (depending on whatever state this was shown), LOVE ME TONIGHT enjoyed frequent revivals on American Movie Classics cable channel from 1990 to 1996, and resurfaced again on Turner Classic Movies where it premiered July 29, 2004. Thanks to KINO Video, LOVE ME TONIGHT is also available on video cassette and DVD. Originally released at about 100 minutes, prints in circulation today run at 90 minutes. But even the shorter version doesn't take away the impact, simplicity and joy of watching LOVE ME TONIGHT. Sit back, relax and enjoy this one. (****)

Without a doubt, this is a film that should be seen by more people as it was way ahead of its times! The film is helped by the magnificent direction of Rouben Mamoulian, who knew a thing, or two, about how to create movies that endured the passage of time. The film has the magnificent score by Rodgers and Hart, the leading geniuses of the American musical theater.

The picture is a joy to watch from the beginning. The opening sequence in Paris, as people go about their daily routine, ending with Maurice arriving at his own tailor shop is amazing. The story is pure fantasy, but it serves the movie well. The time where this movie was made had a different feel and there was an innocent air surrounding the magic the new talking pictures that were coming out in the early 30s.

The casting proves to be also excellent. Maurice Chevalier, who was an idol in France, made it big in America. He had a personality that put a good feeling to any character he played. Jeannette McDonald, the leading lady was a favorite of the movie going public and it's easy to see why she was adored.

Also a young and fresh Mirna Loy, joins Charles Ruggles and Charles Butterworth in the supporting roles.

This film should be included in any collection of the discriminating movie fan.

There have been better film directors than Rouben Mamoulian and better stage directors as well. But no one has yet mastered both of those mediums so much so that his services to helm a project was in demand consistently in Broadway and Hollywood. Mamoulian certainly has his share of duds on both coasts, but he has his share of classics as well and none is more classic than Love Me Tonight.

Love Me Tonight is the third and best collaboration with leads Maurice Chevalier and Jeanette MacDonald. Chevalier is but a poor tailor, the best at his craft who's just completed a big order for a rakish nobleman played by Charlie Ruggles. Ruggles is also a deadbeat who's stiffed half the merchants of Paris and they've appointed Chevalier a committee of one to settle the accounts. Off goes Chevalier to the countryside to get Ruggles to cough up.

Ruggles is mooching off his titled uncle C. Aubrey Smith and while nobility has been formally abolished in France, it's still held in regard in class conscious Europe. When Maurice gets to Smith's palatial digs, he also finds another cousin in Jeanette MacDonald and she falls big for him of course. And Ruggles not wanting to seem more of a deadbeat and a moocher than C. Aubrey Smith already thinks he is, introduces Chevalier as another titled fellow.

Two other main characters get into this mix. Charles Butterworth who is also a titled person and would like to marry Jeanette. Of course Butterworth isn't her romantic ideal, like he'd be anybody's. And Jeanette has a lady in waiting in Myrna Loy who's also got her eye on Maurice.

There are many who consider this the best musical ever made. It certainly was years ahead of its time. In fact Maurice and Jeanette were fortunate to also have Ernst Lubitsch directing their other features because they too were considered way ahead of their time and helped their careers along immensely.

One reason for the success of Love Me Tonight is the score written by Richard Rodgers and Lorenz Hart, probably their best film score. When you've got such classics as Isn't It Romantic, Lover, and Mimi all in the same film, you can't miss.

One should also hear Chevalier's RCA recording of Mimi. It was one of the staple songs of his career. The record however has an interlude as Maurice reminisces about all the other girls he's sung about like Louise, Valentina, Mitzi, and his fabulous Love Parade. But no doubt about it, Mimi tops them all. I wish he could have used those lyrics in the film.

As for Lover this is a case of a hit song becoming far bigger in revival. Jeanette sings it on screen, but I would safely venture that more people identify the song with Peggy Lee and hit record she made of it in the Fifties. In fact a lot of her contemporaries also started recording it during that decade and Lover had a new burst of popularity then.

What amazes me about Rouben Mamoulian is that here was a man who directed such things as Oklahoma, Carousel, Lost In The Stars and Porgy and Bess on stage and then could go to the screen and do classics like Love Me Tonight, Blood and Sand, The Mark Of Zorro, and Dr. Jekyll and Mr. Hyde. This man had a complete sense of the cinema, if you find any staged awkwardness in any of his films, I'm not aware of it. The staging of Isn't It Romantic where Maurice and all his neighbors and friends join in and then switching to Jeanette expressing her longing for real romance is perfect. As is the hunting scene which is something that could never be contemplated doing on stage. And Maurice saving the stag probably got him a lifetime appreciation award from PETA.

Love Me Tonight after almost 80 years still holds up well and it's a great opportunity for young people today to see and appreciate the lost art of the film musical.