A 1932 musical is getting a new life on Santa Fe screens

Residents of Santa Fe have the opportunity to solve a cinematic mystery before seeing the answer on the big screen. The film in question is Love Me Tonight, a 1932 Paramount Pictures release that has earned a reputation as a pinnacle of the musical genre despite being produced during a period of severe financial stress for Hollywood.

The movie stars Maurice Chevalier as a Parisian tailor and Jeanette MacDonald as a princess who appears devoid of romantic interest. The plot blends elements of Sleeping Beauty with a gender-inverted Cinderella story, treating the fairy tale tropes with satire. Chevalier’s character travels to a remote chateau to collect a large debt from a viscount, where he meets the stoic Princess Jeanette.

The production faced unique challenges because it was released in 1932, a year when the number of film musicals dropped to just 15, down from 92 in 1930. Paramount was in desperate financial straits during the Depression, holding constant negotiations with creditors that led to bankruptcy and reorganization the following year. The studio had previously rushed out low-quality musicals to exploit the new sound technology, but Love Me Tonight aimed for a different standard.

Director Rouben Mamoulian insisted on a highly stylized approach where rhythm drove the action. He required the composer Richard Rodgers to write all incidental music, a task usually given to studio staff. Rodgers created a web of musical allusions referencing composers like Mendelssohn and Gershwin. The film’s most celebrated number, Isn’t It Romantic?, features seven different singers as the tune travels from a tailor’s shop to a train and finally to a castle balcony.

The casting brought together two major stars with distinct careers. Myrna Loy, who had been typecast in minor roles for six years, found her breakthrough in the role of Countess Valentine. This part helped launch her career in the witty comedy series that would define her later work. Charlie Ruggles, known for his comedic timing, played the deadbeat viscount, adding to the ensemble’s charm.

Mamoulian used innovative camera techniques, including varying camera speeds to match the mood of scenes. In one sequence, the film slows down to match the funereal pace of a bridge game. The climax involves MacDonald, an accomplished horsewoman, racing her horse against a train to save Chevalier. She performed her own stunt riding, racing between the train and a parallel camera car.

The film is now available for viewing in Santa Fe through three different options, including an upcoming big-screen release. It joins the ranks of classic musicals like Singin’ in the Rain in the eyes of critics who view it as a masterpiece of popular art.