La città dell'oro

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.

Closer to Belasco's play than to Puccini's opera(though there are elements of it), The Girl of the Golden West is not going to get awards for originality- though actually still one of the better stories of the Nelson Eddy/Jeanette MacDonald collaborations- and Nelson Eddy's Ramirez accent is very unconvincing. The Girl of the Golden West even with those flaws taken into account is still really good fun, and one of the better Eddy-MacDonald collaborations. The two stars are fine, MacDonald is the much better actress and does sassy, beautiful and charming wonderfully, but Eddy is a likable partner. Both are in fine voice too, especially Eddy who even when his acting is not up to par always captivates by the strength and beauty of his voice. MacDonald sounds great too, and blends very nicely with Eddy. Walter Pidgeon is handsome and authoritative, managing some menace as well as a sympathetic side as Rance. Buddy Ebsen is very sweet and funny, and comes close sometimes to stealing the film. The Girl of the Golden West looks good, it's photographed with care and the Old West sets are evoked really beautifully and convincingly. The songs and score are rich in orchestration and carry the film very well, the best of them Who are We to Say, Mariache, Shadows on the Moon and Winds in the Trees are wonderful. The dialogue is true to the period the film is set in and has moments of great wit. The story is told briskly and with great charm, the romantic elements are appropriately tender and you are convinced by Eddy and MacDonald as lovers. The characters are not original either but are still interesting, especially Mary and Rance. The ending is true in spirit to that of Puccini's opera, it may be very Hollywood-ish and unbelievable- with Rance giving up so easily- to some, but it was nice to see a somewhat different side to Rance in this scene. Overall, very easy to like and does a great job charming and entertaining. 8/10 Bethany Cox

I am writing this review after my second viewing of this movie. After my first viewing, I thought it was trash but with time and a sequestered absence, my opinion has changed and I think it is the second best of the Nelson Eddy/ Jeanette Macdonald behind only the incomparable The Naughty Marietta. For one, Nelson Eddy had learned to act, not well but okay. Jeanette gives her best performance in this movie, and that accent is impeccable. The story is good with a lot of serious dramatic scenes including a scene at a log cabin that lasts close to twenty minutes and does not drag. You could cut the music out of this movie and it would still play like a romantic drama. Most of the singing is solid as Eddy was one of the great voices of the 20th Century. Walter Pidgeon as the spurned lover does his thang and Buddy Ebsen in a supporting role of a hick walks away with the whole picture. The basic plot of the Puccini opera is retained if not mangled and Belasco's play forms the basis for this movie. All in all, suprisingly low key in style but effective at heart.

The story in this movie is a popular one. A play, an opera, and at least two movies. La fanciulla del West (The Girl of the Golden West) is an opera in three acts by Giacomo Puccini to an Italian libretto by Guelfo Civinini and Carlo Zangarini, based on the play The Girl of the Golden West by David Belasco. Its highly-publicized premiere occurred in New York City in 1910 Imagine a western soap opera being sung in Italian! The movie is based on the same play, adapted by the playwright, as was the 1915 version filmed by Cecil B. DeMille. The singing in the movie is great, Nelson Eddy and Jeannette McDonald are a great pair as usual. Worth a watch.

"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.