Archive for November 2nd, 2011

I’ve never met you, yet never doubt, dear;
I can’t forget you, I’ve thought you out, dear.
I know your profile and I know the way you kiss,
just the things I miss on a night like this.
If dreams are made of imagination
I’m not afraid of my own creation.
With all my heart, my heart is here for you to take.
Why should I quake? I’m not awake.
Isn’t it romantic?
Music in the night
by Tony d’Ambra

Love Me Tonight, is an enchanting romantic musical comedy, which has you enthralled from the opening scenes of a Paris suburb greeting a bright new day where the syncopated sounds of a waking humanity build to a musical overture that encapsulates not only the charm of the story to follow, but also the antagonisms of city and country, of modest circumstances and fabulous wealth, and of social barriers conquered by love, to the insouciant finale where the girl on horse-back chases the departing lover who is on a train steaming out of her life.  Maurice Chevalier is in his element as a debonair tailor from Paris who falls in love with Jeanette McDonald a charming young princess. The jubilant musical score by Richard Rodgers & Lorenz Hart features such memorable songs as the amorous “Isn’t It Romantic?” and the saucy serenade “Mimi.” Spontaneous musicality with a rare grace and joi-de-vivre, transport the audience to a higher place of movement and abandon.  On the way we are distracted by the risqué antics of Myrna Loy as a randy cousine, and the  endearing farce of older men up-staged by gorgeous young femmes.

Film writer Mark Cousins chose the following words from Arthur Koestler to preface his book ‘The Story of Film’: “The measure of an artist’s originality, put in its simplest terms, is the extent to which his selective emphasis deviates from the conventional norm and establishes new standards of relevance. All great innovations which inaugurate a new era, movement or school, consist in sudden shifts of a previously neglected aspect of experience, some blacked out range of the existential spectrum. The decisive turning points in the history of every art form… uncover what has already been there; they are ‘revolutionary’, that is destructive and constructive, they compel us to revalue our values and impose new sets of rules on the eternal game.” [1] (more…)

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