dref4508 Reviews

Maytime (1937)

Why did Stothart adapt Tchaikovsky?

[27 November 2007]

Because there was nothing suitable in the opera repertoire for a baritone and a soprano to sing together! And Romberg's music wasn't used because it was too expensive; practically everything in the film score was in public domain or composed for the film. Likewise, filming in color was nixed in a cost-cutting move (though, frankly, I can't imagine how this film could be any better in color!) Movie-making is all and always about compromise.

A little research into Herbert Stothart's tonal plan for this film will help you understand it better, if understanding the technicalities will help you appreciate it more. But just enjoy "Maytime" for what it is, not what it isn't. A lovely, opulent, romance treasure. Don't be afraid to like it!

Naughty Marietta (1935)

Wise and witty dialogue

[30 October 2007]

Only a few of the other comments mention the dialogue of this movie, which I think is superb! The verbal sparring between Marietta and Captain Warrington is a delightful contrast to their soul-mated singing and elevates this film above other musicals of the era. One always suspends disbelief when viewing any film, of any era (come on, you don't think modern films are really "real", do you?), and it may be difficult for some to enter into the mindset of a '30s moviegoer, but with not too much effort even those who say they don't like this type of film, or these actors, or whatever, can find something to enjoy in this film. (Just call it a fantasy, without special effects.) Some of the opening scenes are almost embarrassingly silly, but quite soon the movie hits its stride and the music, humor, and sweep of the story carry you along. As an untrained actor in his first real role (singing cameos don't count), Nelson Eddy does quite well, thank you; I am inclined to think that the oft-repeated comment about his "wooden" acting style may owe more to L. B. Mayer's jealousy (remember what he did to John Gilbert?) than to a true assessment of his skill (which, admittedly, did improve over time). Mayer wanted MacDonald for himself and the obvious attraction between Eddy and MacDonald, coupled with her stinging rebuffs of Mayer's advances, made him no good friend of "the baritone". (Bear in mind, too, that Eddy was not interested in being an actor; he used film to advance his concert career.) I think this is a grand film, almost my favorite of the duos' work. "Maytime" has an edge because I had the good fortune to see it on the big screen when it was re-released in 1962, and I've only seen the others on television. The music in "New Moon" is glorious, and Nelson and Jeanette seem to be having such fun together in "Sweethearts".... All I can say is, if you have the opportunity to see MacDonald/Eddy films on the big screen at a film festival or revival theatre, don't pass it by!

Mrs. Wiggs of the Cabbage Patch (1934)

A Thanksgiving Tradition

[13 March 2006]

Years ago, a local independent television station aired this film every Thanksgiving morning because the opening set-piece of the film revolves around the impoverished Wiggs' family's hopes for, and endeavors to create, a bountiful Thanksgiving. Forty-five years later, this darling film is still our holiday tradition. Despite the melodrama and mawkishness, "Mrs. Wiggs" has much to recommend it, not the least of which being one of the only two Hollywood endeavors of the legendary stage actress, Pauline Lord; fans of W. C. Fields and ZaSu Pitts will find much to cheer as well. The recreation of late-19th century poverty has been prettied up, but one is not asked to engage in a sociological critique of conditions, but to enter into a simplicity of motivation and action that captures and compels the imagination. The only weak part of the story is the inclusion of a nod to the temperance sensibilities of the era (of the original play and the '30s) in the scene between Mr. Bob, newspaper editor, and the town drunk. Kent Taylor looks decidedly uncomfortable in the scene, but it serves to introduce the character of the doctor with ties to the private hospital where Billy Wiggs ultimately dies. It is a placid little film with a surprising amount of activity for such circumscribed lives, which is the source of its charm. As in a Jane Austen novel, the minutiae of the everyday lives of ordinary people are endlessly fascinating. I would rate this film a ten because of my great affection for it, but that might be misleading to someone approaching it for different reasons, with different expectations. It is an artifact, yes; a piece of my personal history, certainly; but I suggest watching it with both mind and heart open wide, and judge for yourself.