A pioneering exploration of sound in relation to semantics. At the dawn of talkies, Mamoulian was one of the few directors challenging sonic literalness and maintaining an aesthetic to match sight and sound in order to create a depth of meaning. Sound as a connecting metaphor for travel, action and the substitution between real and metaphorical sound is ahead of its time.
One oh those rare films where audacious experimentalism collides with solid classicism. The scene in which Chevalier takes MacDonald's measurements is one of those Hollywood telling all without saying a thing moments.
I'm a sucker for old pre-code song and dance movies. This one doesn't disappoint, and even offers some unique cinematic flourishes that have been adopted into the common vernacular of filmmaking. It's just a feel good kind of movie with the sound quality and soft black and white photography that just feels to me like coming home.
No es una gran historia de amor, pero sí hecho con ciertos encantos. Me atrae mucho cómo Mamoulian inicia este musical, primero con mutismo y luego sumando sonidos, ruidos. Es una musicalización diegética. Es como una clase maestra sobre la composición del sonido y la música. El filme también tiene una postura de lo musical distinto a lo glamoroso. Es el antes de ser baile y coreografía. Es un director muy singular.
Chevalier really grates on me for some reason, and I wasn't particularly impressed with the songs either, but there are some fine examples of editing. The same song continuing from scene to scene was pretty groundbreaking.
From the brilliant "Song of Paree" opening, to one of the great happy endings in film, LOVE ME TONIGHT (1932) is a delight. Randy Parisian tailor Maurice Chevalier masquerades as a nobleman & falls for icy young princess Jeanette MacDonald, to the tune of 9 original songs by Rogers & Hart, including "Isn't It Romantic?" Dream supporting cast w/ Myrna Loy, Charles Butterworth, Charles Ruggles. Must see. (9/24/11 TCM)