O Soldado de Chocolate

Proof positive that NELSON EDDY finally was able to shed his "wooden" image is THE CHOCOLATE SOLDIER. Whatever inspired him to do this performance (some say it was his frequent radio work that developed his acting talent), his impersonation of a Russian Cossack is both hilarious and convincing. He has a great time squeezing every bit of humor out of his sardonic dialogue and is never for a moment upstaged by the talented Rise Stevens. In fact, although she is carefully photographed and seems to be brimming with good humor, her performance is considerably weaker than Eddy's. One can only speculate how much better the film would have been if Eddy's usual co-star (with her great sense of comic timing) had been available.

Both singers are in fine voice but it's Eddy who steals the show with his rendition of "Song of the Flea". Nelson Eddy was rarely praised for his acting prowess, but here he delivers a solid, sensational performance with great flair and dexterity. Absolutely his best work as an actor!

The pleasant supporting cast includes Nigel Bruce and Florence Bates.

This is one of those forgotten musical comedies from the vaults that is well worth taking the time to sit back and watch. The set-up for the plot takes a little more time than it should, but once the deceptions begin, the banter and the inter-play between Nelson Eddy and Rise Stevens carry the show. Nelson Eddy is in fine voice, and Rise Stevens' sparklingly burnished vocal range and comedic talent shouldn't be missed. 'The Chocolate Soldier' is well-filmed and crisply edited, presented in glorious black and white. The costumes alone should have merited a Technicolor production.

THE CHOCOLATE SOLDIER is a musical based on the famous old Molnar play THE GUARDSMAN, filmed by the Lunts back in 1931, in which an actor (Nelson Eddy) tests the fidelity of his actress wife (Rise Stevens) by disguising himself as a Russian prince and trying to seduce her while her `husband' is out of town. He succeeds, to his chagrin. The handsome and amiable but often bland Eddy is almost unrecognizable as the fiery and passionate Russian, and his performance is a comic revelation, accent and all (favorite lines: `My fillings are runnink avay vith me' and `Like sheeps that pass out in the night'). Unfortunately, a good deal of the original naughtiness is missing: the Production Code of 1941 required that the wife be aware of her husband's masquerade from the beginning. In the original play she claims she knew it was him all along---but did she? We're not sure!

Dreadful choreography in the musical numbers, but beautiful Oscar Strauss music performed masterfully by Eddy and Rise Stevens, plus `Evening Star' from TANNHAUSER sung gorgeously by Eddy and `My Heart at Thy Sweet Voice' from SAMSON AND DELILAH by Stevens. Even though Stevens has the superior voice, one can't help wishing that Jeanette MacDonald, with her considerable comic gifts, had been available for the part!

I heard so much about The Chocolate Soldier from watching clips of both Nelson Eddy and Rise Stevens on YouTube and people telling me how good it was, and desperately I wanted to see it. I finally saw it, and you know what, I wasn't disappointed.

I will agree that the story about a man suspecting his wife of infidelity is predictable and creaks with age, and the choreography at times was disappointingly unexciting and pedestrian. But putting these flaws aside, this is a truly beautiful and entertaining film. One thing for certain, the production values were simply fabulous. The lavish costumes and beautiful sets were really a wonder to look at. The score is phenomenal, featuring some Oscar Strauss hits like My Hero, Thank the Lord the War is Over, Sympathy and of course the Chocolate Soldier, and some well known opera gems like Mon Couer s'oeuvre a Ta voix from Saint Saens's Samson and Delilah and Evening Star from Wagner's Tannhauser. While my Lady Sleeps was stunning too, but the real highlight was the enormously entertaining Song of the Flea. The performances were sublime; while the beautiful Rise Stevens is probably at her loveliest and sings beautifully, it is the wonderful undervalued Nelson Eddy who steals the show with his beautiful resonant voice and flawless comic timing and stage presence. Nigel Bruce and Florence Bates are good too.

All in all, a beautiful film. Not perfect, but the production values, score and performances make it a treat. 8/10 Bethany Cox

Nelson Eddy was always considered a dull non-actor with a nice voice, no histrionic match for his usual co-star Jeanette MacDonald (who became increasingly coy and diva-ish with every passing movie). Here, opposite Rise Stevens in a musical updating of Molnar's "The Guardsman," he gets to exercise some hitherto unknown comic energy, and he's quite good-- not up to Alfred Lunt, perhaps, who played the role in MGM's 1931 non-musical version, but pleasingly hammy and with genuine comic timing. Stevens has a nice personality and, of course, a lovely Met soprano, but she's unflatteringly photographed, and she's playing a not very likable character. With minor roles given to Nigel Bruce and Florence Bates, Eddy and Stevens are pretty much the whole show, and they navigate the Oscar Straus melodies (and a few others) and worn marital-discord plot expertly. Made during the Hays Code years, it's less spicy than the original -- we're never in doubt as to whether the wife realizes her husband's exploits or not -- and takes place in a mittel-European never-never-land that never, never intrudes on reality. Once you get used to all the artifice and MGM overproduction, it's quite enjoyable. And it suggests Eddy may have had a productive career in comedy.