Schloß im Mond

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.

Yes, it's available from Kino. If not in general distribution, you can still order it from most Internet-based distributors. Its publication is coincidental with one of Rouben Mamoulian's other masterpieces of the sound era, 'Dr. Jekyll and Mr. Hyde' (the Fredric March version, 1931). Although the producers of this last two-for-one DVD (where it is coupled with Victor Fleming 1941 version with Spencer Tracy, Ingrid Bergman and Lana Turner) were able to restore most of the parts of 'Jekyll' which were cut away either by the studio (Paramount) or the censors, the same cannot be said of 'Love Me Tonight'.

Don't get me wrong: it still is a must-own masterpiece reproduced in a pristine print with sound as clear as a bell, but it is still missing songs and scenes that were cut because they were too long or because the censors repeatedly asked for their exclusion. I didn't have time to listen to the whole commentary by Miles Kreuger, who probably explains how these tasty bits were either destroyed or lost to posterity.

What remains, of course, is the version film lovers have always known from television and have recorded on their VCRs for years. What comes out in this print is that the photography by Victor Milner is very reminiscent of the celebrated Brassaï still photographs of Paris, the lighting is extremely rich and complex and the camera movements are unusual for the time (including a discreet use of the zoom lens for comic effects). Two set pieces ('Isn't Romantic?' and ''The son-of-a-gun is nothing but a tailor') are guaranteed to knock the wind out of you. One song, 'Mimi', has Maurice Chevalier singing to Jeanette MacDonald but directly to the camera and Jeanette looking back at him in the same way, which is spine-tingling. Another song (the pre-recorded 'Love Me Tonight') Is sung over a split-screen view of the lovers sleeping each in their own bed. The film even includes a full-regalia deer hunt and a race between a train and a horsewoman worthy of the 'Perils of Pauline'.

The script is based on a French boulevard comedy called 'The Tailor and the Princess' by Armont and Marchand but it has been amplified by a very witty and poetic script by American Samuel Hoffenstein (who also worked on 'Jekyll'), spoken and sung rhymed couplets by Lorenz Hart and, of course, songs and incidental music by Richard Rodgers.

In this gentle lampoon of French aristocracy and the democratic aspirations of the working classes, songs are not mere filler, they announce scenes, introduce characters and propel the action. They also give rise to very cinematic montages which keep the spectator in a perpetual state of expectation. In this respect, Mamoulian was probably paying respect to what René Clair had accomplished in his French musical 'Le Million' a short time before (1931). Its sexual content, however, was clearly inspired (or dictated) by the preceding film Ernst Lubitsch had directed starring the box-office smash duo of Jeanette MacDonald and Maurice Chevalier ('Love Parade', 1929, followed in 1935 by 'The Merry Widow'). 'Love Me Tonight' in turn inspired the French style of film comedy for decades to come, where the introduction of working class elements in an aristocratic setting became a kind of stock situation (see 'The Rules of the Game', Jean Renoir, 1939).

As Miles Kreuger explains, this is probably the last screen musical where most of the sung numbers were recorded live on the soundstage, with a live orchestra in attendance off-screen (as evidenced in the production photographs), because the complexity of film-making from this point on required the songs to be pre-recorded. This gives the film a unique, spontaneous quality even in the most choreographed numbers.

The inclusion of the three spinster sisters is a particularly fine touch, reminiscent of the famous 'Mesdames' of Louis XVth's court (his three moralizing unmarried daughters), but they also serve as Greek chorus and a benevolent version of the Three Witches or Three Fairies of folk literature.

Luckily, the DVD also includes a complete reprinting of the script pages of the scenes that were lost to censorship or cut by the studio, as well as censorship notes and they make for fine reading.

All in all, this is one of the most important films in cinema's history, a timeless comedy whose enjoyment will never be marred and a fine DVD package.

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.

This is an enchanting film, one of the best musicals of the decade. Maurice Chevalier and Jeanette MacDonald are incredibly appealing in a rich-girl-poor-boy musical romance. It's one of those rare films where the girl runs away from the palace to follow her true love and you *don't* think "wait a minute, you'll never survive out there", no, you want them to be together. The score is enchanting (the big hits being "Isn't it Romantic" and "Lover"), Chevalier is devastatingly attractive, and MacDonald is vulnerably appealing and completely without the annoying primness that marred her later films.

It's also a remarkably well made film for 1932, when most films were just getting used to sound and suffered from a horrible stiffness on the part of the actors and the camera. You'd think this movie was made ten years later, it's lively and sparkling, and directed with a smoothness and originality that's still amazing.

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.