Nelson Eddy Movies

Backed by the "American GI Chorus", Nelson Eddy made his final screen appearance in the unusually elaborate Republic musical Northwest Outpost. The story is set in the 1830s, when a good portion of California was owned by Russia. US cavalry officer James Laurence (Nelson Eddy) arrives at one of the Russian colonies to pave the way for the eventual American takeover of the territory. He faces resistance in the form of Prince Nikolai Balinin (Hugo Haas), who has no intention of weakening his despotic hold over the local peasants. The plot thickens when Laurence falls in love with Natalie Alanova (Ilona Massey), the wife of disgraced nobleman Count Igor Savin (Joseph Schildkraut). The script draws several unsubtle parallels between Russian California of 1830 and Communist Russia of 1947, but this can be chalked up to the political tenor of the times. Rudolf Friml's soaring musical score evokes fond memories of Friml's earlier Rose Marie, which of course also starred Nelson Eddy. ~ Hal Erickson, Rovi

This Technicolor retelling of the Gaston Leroux "grand guignol" classic The Phantom of the Opera has a little more opera than phantom, but that's because the stars are soprano Susannah Foster and tenor Nelson Eddy. Claude Rains carries the acting honors on his shoulders, playing a pathetic orchestra violinist who worships aspiring opera-singer Foster from afar. The girl is unaware that Rains has secretly been financing her music lessons with instructor Leo Carrillo. When he runs out of money, Rains attempts to sell the concerto that he's been working on all his life. Mistakenly believing that his precious concerto has been stolen from him, Rains attacks and kills the music publisher he holds responsible. Terrified, the publisher's mistress throws a pan full of acid into Rains' face. Rains runs screaming into the night, and is not heard from for the next reel or so. Soon afterward, the Paris Opera house is plagued by a series of mysterious accidents. The managers are informed via letter that the "accidents" will continue if Foster is not immediately promoted to leading roles. Only after reigning diva Jane Farrar is drugged into incapacitation is Foster given her big break. Farrar accuses Foster's boyfriend, police inspector Nelson Eddy, of doping her in order to advance Foster's career. Farrar is later strangled, and Eddy is accused of the crime. The culprit is, of course, Rains, who now poses as the masked-and-caped "phantom". Maniacally determined that no one will impede Foster's success, Rains causes a huge chandelier to crash down on the opera audience when Foster fails to appear onstage (she'd been kept from performing by police-chief Edgar Barrier, who hoped in this manner to flush The Phantom out of hiding). A chase through the catacombs below the opera house ensues, with Rains holding Foster prisoner. When Rains briefly lets down his guard, the tremulous Foster removes his mask. It's "yecccch," all right, but nowhere near as frightening as the unmasking scene in the silent Lon Chaney version of Phantom of the Opera. The same can be said for the rest of this 1943 remake, though in fairness it appears as though the film wasn't really designed to scare anyone, but instead to serve as a suspense yarn with musical interludes. Hume Cronyn makes his second film appearance in Phantom in a microscopic role. The huge sets designed for this picture were hastily reused for the 1944 Universal melodrama The Climax, starring Boris Karloff and (again) Susannah Foster. ~ Hal Erickson, Rovi

This remake of Ferenc Molnar's play The Guardsmen focuses on an opera star (Nelson Eddy) who tests the fidelity of his wife (Rise Stephens) by wooing her in disguise. The film was nominated for Best Cinematography, Best Sound and Best Score. ~ John Bush, Rovi

Previously filmed in 1930 with Lawrence Tibbett and Grace Moore, the robust Sigmund Romberg operetta New Moon was given another airing in 1940 as Nelson Eddy-Jeanette MacDonald vehicle. Set in 18th century Louisiana, the story concerns the relationship between haughty plantation owner Marianne de Beaumanoir (MacDonald) and her handsome bondservant Charles (Eddy). Actually a French nobleman in disguise, Charles leads his fellow bondsman in revolt, commandeering a ship and heading out to sea. He ends up capturing a vessel carrying Marianne and a cargo of mail-order brides. Though the bondsmen and the brides get along just fine, the romance between Marianne and Charles is noticeably strained, but the French Revolution comes along to solve everyone's problems. The soaring Romberg musical score includes such favorites as "One Kiss", "Stout-Hearted Men" and "Lover Come Back to Me", all performed con brio by the stars. Comedian Buster Keaton, whose supporting role was cut from the final release print of New Moon, can still be glimpsed among the bondsmen. ~ Hal Erickson, Rovi

Originally filmed in Sepiatone, Let Freedom Ring is a satisfying Nelson Eddy musical with patriotic overtones. Set in the years following the Civil War, the story focuses on the battle of wills between Harvard-educated idealist Steve Logan (Eddy) and bullying railroad magnate Jim Knox (Edward Arnold). Launching a newspaper aimed at combatting Knox's engulf-and-devour tactics (could the villain be intended as a frontier Hitler?) Logan is disowned by his wealthy family and frozen out by his society friends. But with the help of woman-of-the-people Maggie Adams (Virginia Bruce), Logan sticks to his guns and perserveres. Let Freedom Ring goes out of its way to erase Eddy's "Singing Capon" image by having him engage in as much virile physical activity as possible, including a well-staged fistic bout with the gargantuan Victor McLaglen. Fey comedy relief is provided by Charles Butterworth, who does the most with the least material. ~ Hal Erickson, Rovi

More burdened with leaden production numbers than plot, Rosalie took Sigmund Romberg and George Gershwin's 1928 Broadway hit, threw out most of the songs, including "How Long Has This Been Going On?," but retained the spindly story of the incognito Princess Rosalie of Romanza (Eleanor Powell), who falls head-over-heels in love with All-American Dick Thorpe (Nelson Eddy), although she finds him conceited at first. But Dick gallantly flies to Romanza where the crooning Charles Lindbergh lands in the middle of yet another comic opera revolution. Rosalie, of course, is engaged to someone else, but after a series of misadventures and a colossal closing number, the star-crossed lovers decide to settle down together in democratic America. Cole Porter was hired to write a new score and Eleanor Powell, Nelson Eddy, and newcomer Ilona Massey perform "I've Got a Strange New Rhythm in My Heart," "Why Should I Care?," "Spring Love is in the Air," "It's all Over but the Shouting," "Who Knows?," "To Love and Not to Love," and, most memorably, "In the Still of the Night." ~ Hans J. Wollstein, Rovi

The third of MGM's profitable Jeanette MacDonald/Nelson Eddy songfests, Maytime opens in the early 20th century, with a young girl arguing with her boyfriend over her wishes to become an opera singer. The girl's neighbor, a lonely old woman whom we gradually recognize as a convincingly "aged" Jeanette MacDonald, tells the girl of her own career in opera. The old lady was once the radiant young diva Marcia Mornay. In 1868 she was the toast of Europe, thanks to the tutelage of her voice instructor Nikolai Nazarov (John Barrymore). He proposes marriage, and Marcia accepts, more out of gratitude than love. In a euphoric pre-nuptial state, Marcia finds herself on Paris' Left Bank, where she meets handsome café crooner Paul Allison (Nelson Eddy). They meet again at a lavish Maytime festival, falling in love (to the accompaniment of Sigmund Romberg's most dazzling duets) in the process. Sadly, Marcia returns to Nazarov, while Paul goes off to America to lick his wounds. Seven years later, Marcia, making her New York debut in a fictional opera based on the works of Tchaikovsky, finds that the leading baritone is none other than Paul. Unable to envision life without her new love, Marcia begs Nazarov for a divorce. He smiles slyly and promises to give her her freedom-whereupon he heads to Paul's apartment and kills the poor fellow. The flashback done, Marcia advises her pretty young neighbor that one can never have both love and a career. Out of tragedy grows the happy ending, in which the spirit of the now-deceased Marcia is reunited with Paul in a blossom-filled Hereafter. On paper, Maytime may seem to be the ultimate in Hoke, but even in recent revival showings the film never fails to cast its spell over an audience. ~ Hal Erickson, Rovi

The first of MGM's phenomenally profitable Jeanette MacDonald-Nelson Eddy musicals, Naughty Marietta takes several beneficial liberties with the libretto of the original Victor Herbert operetta. MacDonald plays an 18th-century French princess who escapes an arranged marriage by posing as a "cake girl," a mail-order bride sent to the New World to marry a colonist. En route, MacDonald and the other brides are captured by pirates, but are rescued by mercenary Eddy and his roistering companions. To avoid marrying some lowly farmer or frontiersman, simon-pure MacDonald intimates that she is a woman with a "history," which makes her attractive to the glitterati of old New Orleans. Only Eddy sees through MacDonald's feigned "naughtiness," and in the end claims her for his own. The most memorable of the Herbert songs retained for the film version of Naughty Marietta was "Ah, Sweet Mystery of Life", which remained one of Jeanette MacDonald's signature tunes ever afterward. ~ Hal Erickson, Rovi

Virtually everybody except President Roosevelt was in the lavish MGM backstage musical Dancing Lady. Joan Crawford stars as Janie Barlow, an impoverished dancer reduced to working in a seedy Manhattan burlesque house. While on a slumming party with his society friend, wealthy young Tod Newton (Franchot Tone) spots Janie in the burleycue chorus line and immediately falls in love with her. When the joint is raided, Tod pays Janie's bail, but she resists his entreaties to become his mistress, promising instead to pay back every cent she owes him "honestly." With Tod's help, Janie is able to secure work in a big-time Broadway musical being staged by Patch Gallegher (Clark Gable), who is certain that the girl is an untalented opportunist and does everything he can to sabotage her audition. When he realizes that the girl "has something," he refuses to admit it but does, grudgingly, hire her for the show. Through a combination of skill and damned hard work, Janie ends up as the star of the show, whereupon Tod, worried that he'll lose the girl to the Great White Way, buys the show and promptly closes it. But Janie, who's fallen in love with Patch, teams with her new sweetheart to restage the show with their own meager savings -- and surprise of surprises, it's a smash hit. Truly an embarrassment of riches, Dancing Lady introduced Fred Astaire to the movie-going public, solidified the popularity of MGM's new tenor Nelson Eddy, and offered a wide berth for the comedy antics of Ted Healy and his Three Stooges -- Moe Howard, Curly Howard and Larry Fine (Larry, performing his role in a Jewish dialect, has a wonderful double-take bit with a jigsaw puzzle which turns out to be a portrait of Adolf Hitler). As a bonus, the film offers spectacular musical production numbers, not to mention the enduring song hit "Everything I Have is Yours." ~ Hal Erickson, Rovi