For MacDonald/Eddy fans who expected a traditional operetta with the usual give and take romance that typifies the genre, this nutty weirdness from MGM has got to give them the heebie-jeebies. For others open to something different, filled with studio style, glorious costumes, nonsense worthy of a Marx brothers film, this film can be good fun. There are some scenes not far removed from a classy burlesque show, with Binnie Barnes engaging Jeannette in some sort of jitterbug--and who is the sweetie who jumps into the crowd scene and starts leading nobody in particular?
First and foremost, Jeanette's singing remains glorious, and unlike most of her films, she doesn't need to maintain soprano dignity at all times, but is given the opportunity to say a good many things she doubtless wanted to say in some of the other films--this was 1942, after all, and there was a good deal of censorship. But this was also based on a late Rodgers and Hart Broadway musical, and spicy situations were inherent in the script, though tamped down.
This is lavish in a way only MGM could manage, but has a whiff of Paramount in it's sophisticated treatment of romance and setting. And also because it is from MGM who advertised "more stars than there are in Heaven," it's provides an opportunity to see dozens of character actors, however briefly, especially in a banquet scene that turns into a very weird version of musical chairs.
It's too bad that some of the end scenes with MacDonald appearing in Carmen and in Faust (what's she doing with that moth-eaten terrier?) weren't of ample length, so her voice could be showcased even more than it was in the glorious over-blown scene where "Angel" Jeanette is surrounded with harps.
If a viewer wants straight operetta romance with the usual formula--New Moon, Naughty Marietta, or Maytime (one of their very best!) this off-the- wall effort is not it. But if a viewer seeks something that director Major W.S. Van Dyke let fly for fun, you may find this as amusing as I did.
First and foremost, Jeanette's singing remains glorious, and unlike most of her films, she doesn't need to maintain soprano dignity at all times, but is given the opportunity to say a good many things she doubtless wanted to say in some of the other films--this was 1942, after all, and there was a good deal of censorship. But this was also based on a late Rodgers and Hart Broadway musical, and spicy situations were inherent in the script, though tamped down.
This is lavish in a way only MGM could manage, but has a whiff of Paramount in it's sophisticated treatment of romance and setting. And also because it is from MGM who advertised "more stars than there are in Heaven," it's provides an opportunity to see dozens of character actors, however briefly, especially in a banquet scene that turns into a very weird version of musical chairs.
It's too bad that some of the end scenes with MacDonald appearing in Carmen and in Faust (what's she doing with that moth-eaten terrier?) weren't of ample length, so her voice could be showcased even more than it was in the glorious over-blown scene where "Angel" Jeanette is surrounded with harps.
If a viewer wants straight operetta romance with the usual formula--New Moon, Naughty Marietta, or Maytime (one of their very best!) this off-the- wall effort is not it. But if a viewer seeks something that director Major W.S. Van Dyke let fly for fun, you may find this as amusing as I did.