Ma femme est un ange

The movie is a fantasy. The story line is thin but serves as the structure upon which some wonderful songs are sung and sung beautifully. (I still cannot believe that such handsome and attractive people could sing this well.) Some of the dialog is wonderfully clever. The costumes made me feel as though I was watching a haute couture fashion show from 1942.

Movies are designed to serve various purposes. This one is designed to entertain and it certainly does. If I have one negative comment it would be that Nelson Eddy was a little too old to be the handsome dashing Count. Some of the closeups made me uncomfortable. But he could still sing and sing magnificently. However, Jeanette MacDonald was just as dazzling as ever. She makes a spectacular angel.

This genre is well before my time, and I an new to the Jeanette MacDonald/Nelson Eddy films and related conversation. The music in this movie is beautiful. As much as I love the classic rock music which fills most modern movies, there is no question in my mind that this music is simply and clearly more memorable, more delightful, better constructed. The stars in this movie are more talented than the stars I see in the movie theaters today. And Jeanette MacDonald, without the benefit of Beverly Hills plastic surgeons, was more beautiful than the stars I see today. I am unclear as to why so many other posters are apologetic about liking this movie and more generally this group of movies. They say it is dated and try to explain why it is the way it is. And those that do not like it say that it is not very good but compared to what? I think this movie will doubtless still be entertaining people when so many other movie are long forgotten. There is just too much quality in every way in this movie for it not to be remembered and enjoyed. I recommend this movie without reservation to anyone who appreciates great talent, great beauty and great music.

This movie is a wonderful fantasy to watch! The MacDonald-Eddy team step outside of their usual plot formulas and into something very different but still entertaining. Several of the scenes (e.g., the Tira-Lira-Loo costume ball sequence) have the look and feel of the Emerald City of OZ, which is perfect for the whimsical plot. Too bad the movie wasn't filmed in Technicolor because the costuming, sets and musical numbers are all well done.

The stars and character support actors all appear well-suited to their roles and the storyline is quite unique and perhaps ahead of its time.

Too bad the film was released at the start of America's entry into World War II, because most audiences were probably more in a mood for something patriotic than whimsy.

I'm guessing L. B. Mayer did little to promote the film because he hated Nelson Eddy and probably wanted to end his successful teaming with Jeanette MacDonald.

If released in another era, this film may have returned a profit and enabled Nelson and Jeanette to continue their movie operetta careers together! Give it a look.

That is not to say at all that I Married an Angel is a complete catastrophe because it isn't. If the songs are good and Nelson Eddy and Jeanette MacDonald sing well then things are already raised up a few notches. And that is the case with I Married an Angel. Unfortunately it does have a lot of things that didn't come off well. The story was paper-thin, then again that was expected as the stories in Nelson and Jeanette's films are far from the strongest aspects, but doesn't come across very well despite that. The first half did come across as too sickly sweet, and the plotting does get very clumsy and difficult to follow(it really showed how censorship chopped the story to bits) complete with a surreal dream sequence that went on for too long and was weird even for a sequence that was intended to be surreal.

Some of the fantasy/romantic moments are charming though and heart-warming and there are a few witty quips from Jeanette MacDonald and Edward Everett Horton throughout the film. Scripting-wise, I Married an Angel could have benefited from a lighter and more satirical touch, it has its moments but if censorship hadn't reared its ugly head then the film would have felt less heavy and much sharper. Again like the story it has moments but they aren't enough. And as great as Nelson Eddy's singing is and his personal charm and handsome looks are, he did seem too stiff in his role, there are also a couple of unforgiving camera angles which suggests that he was also a little too old.

Things are definitely made up for though by the lavish costumes and sets as well as the crisp photography. The songs are just lovely, especially the title number, A Twinkle in Your Eye and Spring Is Here. The choreography has its charm and energy too, the Jitterbug number between MacDonald and Binnie Barnes is a lot of fun and they seemed to be having fun too, which is a pleasure to see. Edward Everett Horton(though his roles Fred and Ginger films serve his talents better), Reginald Owen and Binnie Barnes delight in supporting roles, making the most of their material despite it not being the best to work with. Nelson Eddy and Jeanette MacDonald's pairing and singing are the best thing about I Married an Angel.

While Eddy has been much better dramatically, he still has that wonderful baritone voice- the most beautiful of its type on film, those Howard Keel comes close- and he has the songs to show it off with, it sounds very rich, supple, beautiful and robust with a touch of sensitivity as well. MacDonald was always the superior actress and she is incredibly beautiful and sassy, and he sounds lovely too, singing delicately and with sweet understated tone in Spring is Here. Though maybe the Jitterbug number was not the right style for her and did seem like the sort of song that needed a bigger voice but she still sings the heck out of it. The two work really well together, and blend beautifully in their duets.

All in all, the weakest of Nelson Eddy and Jeanette MacDonald's collaborations, but from a personal perspective while flawed it was not as bad as heard. If it weren't for the censorship though, I Married an Angel might have been a different and better film. If you want to see a film more than worthy for this duo look to Maytime or New Moon. 6/10 Bethany Cox

Jeanette MacDonald and Nelson Eddy star in this "modern" musical that showcases MacDonald's comic abilities. Surreal 40s musical seem to be making fun of 40s fashions even as they were in current vogue. Eye-popping costumes and sets (yes B&W) add to the surreal, dreamlike quality of the entire film. Several good songs enliven the film, with the "Twinkle in Your Eye" number a total highlight, including a fun jitterbug number between MacDonald and Binnie Barnes. Also in the HUGE cast are Edward Everett Horton, Reginal Owen, Mona Maris, Douglas Dumbrille and Anne Jeffreys. Also to been seen in extended bit parts are Esther Dale, Almira Sessions, Grace Hayle, Gertrude Hoffman, Rafaela Ottiano, Odette Myrtile, Cecil Cunningham and many others.

Great fun and nice to see the wonderful MacDonald in her jitterbug/vamp routines. She could do it all.

It was not planned that way, but as it turns out the film adaption of the Rodgers&Hart Broadway musical I Married an Angel turned out to be the last pairing of Nelson Eddy and Jeanette MacDonald. Nelson in fact left Metro-Goldwyn-Mayer after this film and bought his own contract out for $250,000.00 according to a recently published book about the pair by Sheryl Rich.

They are in good voice and the songs of Rodgers&Hart never got a better treatment. Unfortunately the film ran into some censorship problems about celestial creatures doing some very earthly things. Rodgers&Hart were busy on Broadway and couldn't help. Two very big shows for them, Pal Joey and By Jupiter kept them occupied.

Nelson is a happy carefree Hungarian playboy who's grandfather started the Bank of Budapest. But Nelson would rather spend his time with wine, women, and song and since it's Nelson Eddy, song doesn't take third place to the other two. At his birthday party he's taken by a little known to him employee at the bank in an angel costume. Guess who that is? Feeling a little the worse for wear from the revelry, Nelson takes a little snooze.

During the dream Jeanette appears to him as a real angel and Nelson is smitten. He asks her to marry him and she agrees. She's without a dishonest bone in her heavenly body.

Unfortunately her time in heaven has not prepared her to deal with certain earthly hypocrisies. It's one wild celestial ride that Jeanette gives Nelson.

The title song, I'll Tell the Man in the Street, and Spring is Here are the big hit numbers from the Broadway show and the stars do them well. The satire comes off far better here than it did for Jeanette and Nelson in Bittersweet, but still censorship really crippled some of the best lines from Broadway.

Binnie Barnes, Reginald Owen, Edward Everett Horton and Douglass Dumbrille give good support to the singing sweethearts. Barnes practically steals the show as the wisecracking earthly friend of MacDonald who sets out to teach her worldly ways.

I think fans of MacDonald and Eddy and others who do knock this film ought to give it a second look. It's not as bad as some would make it out to be.