Ma femme est un ange

Based on the Broadway musical, "I Married an Angel" is a fantasy that takes place in Budapest. Released in 1942, it proved to be the last film for Nelson Eddy and Jeanette MacDonald, as Eddy bought out his contract and left MGM.

The story concerns a secretary, Anna (again MacDonald) who is in love with the her playboy banker boss, Count Pilaffi (Eddy), and has been invited to his birthday party. Because it's a costume party, a jealous girlfriend of the Count's (Mona Maris) makes sure that Anna is in a cheap makeshift angel costume, complete with aluminum wings, one of which falls off, and a halo that hits the Count in the face when he tries to dance with her. After being hit one too many times, the Count excuses himself and goes upstairs, where he falls asleep.

He dreams that an angel, Brigitta (MacDonald again) comes down from heaven to be his wife. She seems perfect, except that she's not used to the ways of the world - polite social talk, for instance - so she tells it like it is, thereby insulting a lot of important people. She gets some lessons from an earthy earth woman (Binnie Barnes) and manages to save the day for her husband.

This film is often criticized by MacDonald-Eddy fans. In truth, MacDonald was never more beautiful, sings well, and Eddy is in fabulous voice. The title song is the big one, along with "Spring is Here." Granted the plot is paper thin, but the couple wasn't known for making heavy movies. Lovely singing, pretty music, a not overly long film, "I Married An Angel" doesn't try to be anything but what it is - light entertainment. Take it on that level, and you won't be disappointed.

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

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.

I know a lot of people don't like this movie, but I just think it is adorable. There's not much I can say, but the movie is a feel-good movie I guess. The songs are beautiful, the costumes are beautiful, the voices are beautiful, and there are a lot of funny lines in the movie, especially as Briggitta learns about the do's and don't's of society. If you like musicals, I'd say you'd like this one!

One used to say, concerning Nathaniel Hawthorne, that his failures were more interesting than his successes. I believe that the same remark could suit to McDonald-Eddy's pictures. And especially this one.

It apparently possesses many characteristics of a failed movie: it's kitsch, the script, because of censorship, sounds inconsistent… Yet, this movie gets also some good points: good Rodgers-Hart's music ("I married an angel", "Tira tira tira la"), good acting with E.E.Horton and Reginald Owen.

Anyway, if you may dislike it, you can't forget it. This strange movie actually leaves a very strong, dreamlike, impression, and you are very likely to keep it in mind for days, maybe for weeks. Why? In the thirties and the beginning of the forties, movies didn't have the same mean than today: it aimed, like a dream, to divert the public in order to make it forget a difficult reality. Of all the the dream-movies that was made, in that time, this one stands as particularly powerful.

In short, let's say that the better way to appreciate this movie, is to watch it without wondering whether it's good or bad. To watch it, like you would watch a dream.