Primavera

I won't repeat what some of the other reviews have said, other than to add my perspective. This was a marvelous film, made with great skill in every way, from screenplay to songs. It is also, along with "Waterloo Bridge" and "How Green Was My Valley" (see reviews), one of the saddest movies I have ever seen.

Of course it manipulates us into reaching for the hankies, but it does a good job at it. I consider myself a big cynical guy, but this movie! Man. I saw it many years ago, and to this day if someone mentions the word "sweetheart", I think of the song "Will You Remember?" and start getting teary-eyed!

Yes, I have it on video. I ALSO HAVE THE RADIO BROADCAST! In 1944, the Lux Radio Theater reprised the popular film in an hour long broadcast with the original stars. The adaptation was wonderfully done. The only change of note was Nelson Eddy sang the rousing French march, "Le Regiment du Sambre et Meuse" instead of Jeanette MacDonald. I downloaded this gem from the Bearshare peer to peer service. It is worth looking for and downloading.

Just don't anyone ever say "Sweethearts" to me - in any context at any time I think of "Maytime" and get sad. Of course some people love those types of films.

One memorable movie. But it made me so sad I almost wish I never saw it. Almost!

It's fascinating to read in all the well justified praise (and occasional cavil) lavished on the glorious hodge-podge that is MAYTIME, not one word of the great feature film debut at MGM which the film also represented.

Since MAYTIME - first filmed in 1923 in a version more faithful to the original but as a "silent" film, lacking ALL of the original music - was contractually obligated to ONLY credit music to the great Sigmund Romberg (whose original show it had been when it opened on Broadway on August 16, 1917, to play for a then astounding 492 performances with songs the studio did not want to use like "Jump, Jim Crow"), the studio called in their youngest contracted composer/lyricists (then only 21 and earning a mere - but lordly during the Depression - $200 a week), Bob Wright and George (Chet) Forrest, who would be willing to do virtually the entire score (not allowed to actually compose, but adapting public domain material under chief studio composer - and early Oscar Hammerstein collaborator - Herbert Stothart's supervision). Wright and Forrest were relegated to billing only for "Special Lyrics by..." (and not even acknowledged for THAT by the IMDb, although the credits are there on the screen!). The film's "Best Score" Oscar nomination didn't even go to Romberg or supervising composer Stothart, but to Nat W. Finston, the head of the studio's Music Division!

It was years before "The Boys" would break into the public consciousness with stage adaptations of their own like SONG OF NORWAY and KISMET, and their own (always their first choice) original music for shows like KEAN and GRAND HOTEL, but the result on MAYTIME (including their faux Russian opera for the film, drawn from Tschaikowsky's 5th Symphony, translated from their original English into French by another poet not credited by IBDB - in a talk at the New York Sheet Music Society in 1989, Bob Wright said it was U.S. Sigey, but the screen credits say Gilles Guilbert) was a triumph of craft and carefully catering to the strengths of the stars who they were writing for. Witness in particular a couple numbers ("Song of The Carriage" and a number where Eddy proposes to prepare a ham and egg breakfast for MacDonald) crafted for the limited acting range of Nelson Eddy, giving him something to DO while he sang!

LOTS of great Broadway names worked under almost forgotten under-billed capacities (Larry Hart of Rodgers & Hart fame did lyrics for the Maurice Chevalier MERRY WIDOW!), but Wright & Forrest were among the most prolific and best, and MAYTIME was their first major film "credit." It's only a pity (given the high quality of their few surviving original scores) that in the ways of Hollywood, MAYTIME also "typecast" them into adapting other composers' works for the bulk of their careers.

For their third screen teaming MGM gave Jeanette MacDonald and Nelson Eddy the old Sigmund Romberg-Rida Johnson Young operetta Maytime which was originally on Broadway in 1919. They kept the libretto, but scrapped the entire score except for the famous Will You Remember duet which became one of Jeanette and Nelson's most beloved songs. In its place were some operatic arias and some public domain standards like Carry Me Back to Old Virginia and La Marsellaise. This served to make the musical part of the film tilted far more to Jeanette than Nelson.

But the plot is one of the most romantic. The film opens with a heavily made up Jeanette living as an old maid in some small town. Both the neighbor's daughter and her sweetheart confide in her. The daughter has been given a chance to study music, but that would mean uprooting herself and going abroad. The boyfriend is in love and wants to marry her.

Jeanette sighs and tells the daughter about her life that at one time she was a famous opera singer who's been living in obscurity by choice because she chose a career over true love. Of course we all know who her true love is. But she marries her manager John Barrymore and in the end Jeanette has cause to regret.

The movie's message about marrying for love is an odd one indeed to come out of Hollywood. That's one place where a whole lot of people including the two stars of this film sacrificed a lot of personal happiness for careers.

Actually in another film a year later, Jeanette and Nelson were a happily married singing team in Sweethearts. I guess the idea is you should marry for love, but if you're a singer hope your spouse can carry a tune.

Will You Remember got a second go around in the Sigmund Romberg biographical film Deep In My Heart with Vic Damone and Jane Powell doing the honors. But it's not half as good as when Nelson and Jeanette sing it.

John Barrymore turns in a fine performance as the rather tightly wrapped manager of MacDonald. For a man who was brought up in the bravura tradition of Victorian stage acting, Barrymore was capable of great subtlety in his screen roles. Watch his facial expressions, they tell you far more than any dialog will. Of course he out acts the two leads.

The other supporting performance of note is Herman Bing as Nelson Eddy's sidekick/music teacher. Maybe if Jeanette had studied with him things would have turned out better.

When the flashback sequence opens Jeanette and Barrymore are going to a palace ball where she sings for Emperor Louis Napoleon, Les Filles Des Cadiz. That sequence was later seen in Jeanette's later starring film Cairo where she plays a movie star stranded in Cairo. It was a most requested item in later concert performances.

For romantics at heart and of all ages Maytime is a must see film for you.

This film should never be remade under any circumstance. You do not mess around with genius. Nelson Eddy and Jeanette MacDonald at their very best. When it hits the tube, I get the tissue, lay back in my recliner and watch. And on every occasion, I see something that I had missed before. There is so much love there.

This was the third movie done by the "Singing Sweethearts," and it is often considered to be their best. Jeannette MacDonald and Nelson Eddy are in their element in this movie as two "star-cross'd lovers"; her as a poor rich girl, and him as a struggling artist. Together they face obligation, yearning, and revenge, all personified by a wonderful John Barrymore.

The music to this movie is excellent...ranging from a playful "Santa Lucia," to the climactic opera set to Tchaikovsky's 5th Symphony. The achingly bittersweet lover's waltz "Will You Remember" and its reprise at the finale is a memorable tune that will have most music lovers humming it for weeks.

A wonderful love story for all time...the finale will leave many in tears. In fact, the finale to this movie is so poignant that many filmmakers still copy the same structure today.