A blue-collar hero of the boulevards, is reinvented in The Love Parade as a suave and sophisticated military man more interested in campaigns of the bedroom than the battlefield. Though Chevalier doubted his ability to pull off this transformation, Lubitsch flattered him into thinking it worth a try, and the image stuck. Chevalier would reprise this impersonation in several more musicals, including Lubitsch’s finest operetta-film, The Merry Widow (1934). Only in Rouben Mamoulian’s dazzling and sophisticated Love Me Tonight (1932), did he resurrect a version of his Parisian working stiff persona.