La belle cabaretière

"Girl of the Golden West," starring Nelson Eddy and Jeannette MacDonald, is based on the play by David Belasco. This play was also used for Puccini's opera of the same name, "La Fanciulla del West" where the chorus sings, "Vells Fargo! Vells Fargo!" One change - the heroine in the opera is named Minnie; in the movie, she's Mary. Good move.

The film deals with one of those double identity villain/good guys - Eddy plays the crook Ramirez, but as Gringo is giving gold to the Indians through the mission of Father Sienna, who knew him and comforted him as a child when his guardian died. When he robs a stagecoach, he meets the beautiful Mary. She owns the Poker Saloon (which sounds with the heavy western accents like Polka). He's wearing a bandanna that covers most of his face. She's en route to visit Father Sienna, whom she also knew as a child. Determined to meet her as a gentleman, Gringo steals a uniform and introduces himself as Lt. Dick Johnson. He sweeps her off her feet, but he has competition in the local Sheriff, Jack Rance, played by Walter Pidgeon. Pidgeon wants Ramirez caught and Johnson out of Mary's life.

There's lots of singing from a Romberg score here, as well as "Ave Maria" and "Liebestraum" and a big mariachi dance number. MacDonald is excellent as the uneducated, somewhat awkward Mary who can also be a real spitfire. MacDonald was a good actress as well as a beauty, and her middle voice sounds especially rich in the songs. Like many sopranos of that era, she sang her high notes in a way that is no longer taught today, but she produces some lovely soft tones in that range. Eddy was a magnificent singer but never was anywhere near MacDonald in acting. He's very likable, but his accent as Ramirez is an absolute scream. In fact, all of the accents, from Buddy Ebsen on up, are laid on with a spatula. H.B. Warner gives a beautiful performance as the gentle Father Sienna, and Leo J. Carrillo is on hand in his usual type of role. Pidgeon is an effective and handsome Jack Rance.

Entertaining, and fans of Nelson and Jeannette will love it.

Focusing on Nelson Eddy, it was with some astonishment to read his pre-film operatic bio. A remarkable 33 total repertoire which he essayed during the late 20s and up to that "fateful" 1920 concert when he stepped in at the last minute to replace an ailing Lotte Lehmann.

That success led to his film contract, a new career as a film star and a semi-end to his exhaustive operatic career.

Yet, he may have done his most impressive singing during his leading stint with the Philadelphia Civic Opera. I was impressed to discover he sang under the distinguished batons of Stokowski, Reiner, Respighi and Toscannini. And reading his press reviews online pointed to his having critics and public alike in the palm of his hands.

By the time his film roles came around, his voice seemed to have taken on a slight strain and occasional throaty quality. But his first rate musicianship never let down.

He, along with Jeanette MacDonald, respected the legato line, shaping each vocal phrase with sensitivity and beauty.

Their solo and duo renditions in "The Girl of the Golden West" show their artistic integrity. Tenutos, ritards, and fermatas are all given their due, all the while integrating their vocalism with their character and dramatic situations.

As for Eddy, he went on to make some nineteen films, then did the impossible: sustained a triumphant fifteen year post-film career as a nightclub singer. The public apparently couldn't get enough of this fine baritone, who worked as a true star with nary a career lull until he literally dropped dead onstage.

In "The Girl of the Golden West" Eddy is seen to advantage, along with MacDonald, and what could be a dated piece turns into an tender romance.

Sigmund Romberg's original songs are fetching, particularly the love ballad, and Herbert Stodart's orchestrations are rich and luminous.

I really loved this movie from the first time I saw it. I know most of the Nelson/Jeanette films are based on the same basic plot structure- but who cares? Fans of Nelson and Jeanette are here for the stars and the music- how it's presented is mostly secondary.

The only thing that irked me about this movie is Sheriff Rance's habit of calling Jeanette "Girl". Maybe he loved her in his own way, but the constant use of the word "girl" instead of her name made me feel as if he wanted to own her rather than accept her as his equal. Strange then that he gave up so easily in the end- But glad that he did! I also loved Buddy Ebsen as Alabama the Blacksmith- what a sweet character!

Just a perfectly charming film that reveals its wonderful qualities more and more with repeated viewings. Jeanette really pulls it off as a "western gal" and her singing is, as usual, superb. "Shadows on the Moon" and "The Wind in the Trees" are just two highlights of many for me. A very lovely, fun and special film.

Of the eight MacDonald/Eddy films, which is the only one that the music was written specifically for the screen? This one happens to be the answer.

Jeanette and Nelson had one thing built in their movies. All of them came from the stage and thus had built-in hit value already. Even with the original score, Girl of the Golden West, has an honorable pedigree as a David Belasco play and a Giacomo Puccini opera. It survives best as a Puccini opera because it's the music that you remember and not the Victorian dialog.

Watching it today you could describe it best as quaint. It might grate on modern tastes, but take it on it's own terms if you view it. Nelson has the best musical moment in this one with Who Are We To Say. In the supporting cast you will enjoy Walter Pidgeon,Buddy Ebsen, Noah Beery,Sr., and H.B. Warner.