Bitter Sweet

Saw this film recently on a Turner Classic Movies TV broadcast and was dazzled once again by an incredibly deluxe production number in which the color palette was limited to aquas, subtle shades of pinks and rose, dazzling whites and ivories and that's about it. It's a song, mounted as part of an operetta, "Ziguener" ("The Gypsy"), in which Jeanette MacDonald is pursued over an enormous, multi-level stage by a flotilla of violin-playing, elaborately costumed musicians as she trills her heart out. It's Hollywood extravagance at its most eye-filling, and the gorgeous Technicolor justifies the Oscar nominations for art direction and color cinematography which this film received. M-G-M gave its "Singing Sweethearts," Jeanette and Nelson Eddy, a lovely vehicle with this one and its like will probably never grace a first-run screen ever again. Thank goodness that TCM occasionally exhumes this one from its vault to delight us every once in a while.

In the style of the great "Maytime " , director W.S.Van Dyke(San Francisco, Tarzan, the ape man ) adapted the original operetta by Noel Coward . The movie is a glamorous, romantic piece , wiht a magnificent photograhy, wonderful songs and a pair of unforgettable stars, Jeanette MacDonald and Nelson Eddy . Music, tragedy, love , all the elements are present in this beautiful picture , a joy for the moviegoer .Nelson and Jeanette sang with passion and his magic is beyond the scenes , his magic truly touched our hearts.

No wonder Noel Coward had such low esteem of what Hollywood could do to his plays. Judging by what comes out on "Bitter Sweet", Mr. Coward had a case. The problem seems to be in the adaptation of the material. Lesser Samuels took too many liberties with the musical, and in a lot of ways, it seems this is a rework of "Maytime", as other contributors to this forum have expressed.

The film had all the right elements going for it, but somehow, this typically English musical is anything but English. W. S. Van Dyke, a director who worked extensively in the genre doesn't appear to have been inspired by the material. MGM gave this film its usual lavish production, yet, this Technicolor film lacks some of the magnificent look the studio gave "Maytime", a black and white movie.

Jeanette MacDonald has a bigger role than her co-star. She also has a more passable British accent, whereas Mr. Eddy, who is supposed to be Austrian, doesn't sound credible. George Sanders is seen as the Baron Von Tranisch, a cad who has an eye for spotting good looking women. Ian Hunter, Sig Rumann, and others are seen in supporting roles.

"Bitter Sweet", while enjoyable, is not one the best films the singing stars duo did for MGM.

This movie is notable for pairing the popular duet of Nelson Eddy and Jeanette MacDonald with the original play, music, and lyrics of Noel Coward, England's most renowned Renaissance man of the theater. Coward's contempt for unromantic prigs is quite apparent in his portrayal of a Victorian lass and her dashing music teacher. This is my nomination for the best of the Eddy-MacDonald films, especially for the beautiful song "I'll See You Again." Apparently Coward thought the film was a travesty; I enjoyed it. --Musicals on the Silver Screen, American Library Association, 2013

Any film with Jeanette MacDonald and Nelson Eddy can't be bad. But that's about as good as can be said for this one. "Bitter Sweet" is the second last of eight pairings Hollywood made of the couple. And the film is bitter sweet, in more ways than one. Other reviewers delve into the controversy involving Noel Coward over the Hollywood treatment of his play here. So, I'll stick to the film as its presented here.

Of course it has a bitter sweet ending. But throughout the film, the music itself seems so bitter sweet. There are no memorable tunes and much of Nelson's singing here seems almost bland. Together with that is his seeming dour persona for much of the film There's no bouncy, lively, energetic Eddy that was in his other films. He seemed to always have some dreary thought on his mind. Perhaps it was intended that he play it that way, sort of fitting the story, but I think it backfires. I think this must be about the least of the films that the otherwise lovely couple made together.