Just what I expected

A brilliant film that helped define a genre

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Story: It's very simple but honestly that is fine.

There were three movie versions of "Rose-Marie", a late twenties silent version with Joan Crawford, with, of course, just the story and a 1954 version which was the first musical in Cinemascope, but this is definitely the best and most famous version and Jeanette and Nelson's second film together. The music is just out of this world as is the singing again of this duo. Their famous duet "Indian Love Call" is actually sung four times during the course the film. People have often maligned their movies as corn, but as far as I'm concerned, bring it on. It's always been one of my favourite movies of theirs and is the first in a contemporary setting (although many insist that "Sweethearts" was).Jeanette's acting is perfect and, although Nelson may appear wooden, it's actually a good underplayed performance which was rare at the time and their comedy is very well done. The scene at the camp fire, for instance, gives them a chance at some great repartee. They just seem made for each other both musically and romantically. Interesting to note what a big star Jeanette was at the time at MGM as this movie and "San Francisco" accounted for half the box office profits for 1936, when MGM was releasing a movie every week, and that's really saying something.Next to Fred and Ginger, Jeanette and Nelson were definitely the best musical duo in the history of cinema. Someone said that Jeanette has a voice like an angel and I couldn't agree more and, along with Nelson's rich baritone voice, they just are just beyond belief when they sing. Great story line too for those not interested in the music. Allan Jones appears with Jeanette in the opera scenes at the beginning and end of the film (and in 1937 co-starred with her in "The Firefly"), James Stewart, in a very early role, plays the part of Jeanette's brother very well and even David Niven (billed as "Nivens"in the credits)appears as a playboy at the beginning of the movie in a brief walk-on, long before becoming a star. For all those, though, who love musicals of any kind, this is a must.

The two stars were before my Mother's time. And yet they light up the screen like no others. I first saw this movie about two months ago. I simply could not get over how sensational it was. And the talent of these people. I can't think of anyone who can compare to them. The singing is gorgeous. Jeanette MacDonald is gorgeous.But the most amazing thing is when the two stars get together on the screen. Something absolutely magical happens. I searched for and bought the movie (not an easy task). Now, all of my friends are blown away by what happens when the two leads are on camera together. (Oh, so this is what they mean by chemistry.) It is inexplicable, simply amazing. My absolute favorite movie ever.(I think I could watch it every day and not get tired of it.) My music loving neighbor says that Nelson Eddy is singing very complicated harmony. I suppose that's true but the results (and after all, it's results that count) are wondrous. Great voices, great music, love.Just a romantic, beautiful, emotionally fulfilling movie.

Though somewhat uneven, with some rather slow stretches, the story and characters are interesting enough in themselves to make "Rose-Marie" watchable, and the cast also adds some important reasons to see it. It's not really among the best movies of its era, but it is entertaining enough to deserve being remembered, if for nothing else than to see Nelson Eddy and Jeanette MacDonald in one of their best-remembered musical pairings. James Stewart, in one of his earliest roles, also gives a good performance as a character quite different from those he would play later on.The basic situation is interesting, though the movie takes longer than necessary to set up everything. Once Marie sets off to try to help her brother, it's much easier to maintain interest, especially once she and Eddy's mountie character meet up. The contrasting agendas and conflicting emotions that the two main characters feel present some worthwhile possibilities, and for the most part the story makes use of them.Most of the creaky parts are towards the beginning, although even later on the pace sometimes lags a little. Overall, it's probably a little above average, and made worthwhile for the cast and for a few of its better moments.

I'm tired of the condescending and facile "appreciations" of Eddy-MacDonald, particularly in "Rose Marie." Does no one actually pay attention to the movie?For those who dismiss Rose Marie as a "saccharine" confection, this is an operetta. Get it? O-p-e-r-e-t-t-a. Light opera. L-i-g-h-t. No more saccharine than a Nicholas Cage vehicle like It Could Happen to You. Yes, the soundtrack for the Indian spectacle sounds, alas, like the hoochee-coochee, demanded by the box office of the time, but even that unfortunate element is an interesting document of contemporary popular taste. If one claims to have the sensitivity to make judgments about a scene, he should first know how to place it in context.The production values someone complains about - for the first Eddy song - is a process shot, about the same quality as others throughout the film, which were state of the art for the time. So if one can shed silly presentist snobbery, the production values are fine. And the location shots are spectacular.Perhaps the stupidest criticism is that MacDonald and Eddy were "mediocre" talents. Yes, Eddy is famous for his supposed woodenness, but I think Rose Marie shows that with good direction - like that of W. S. Van Dyke - woodenness could become stolidity and then a buffer for heavy emotions highly prized by all actors. With Eddy it was "stiffness," but the same qualities in Cooper are called "natural" by the snobs. I challenge any other actor to deal with the inner conflict between love and duty as well as Eddy in Rose Marie. The scene when he says, "You'll remember me as just a policeman" is executed with exquisite torment and brittle irony - through that so-called "wooden" countenance.As for Jeanette MacDonald, of course she wasn't an opera singer. She had a better job! As for her "mediocre" talent, MacDonald was not only beautiful, stable and smart, she was a fine actress and had an E above high C three-octave lyrical soprano voice. That kind of voice is far from mediocre.As for Eddy's voice, it's a little on the flat side, but it's strong and masculine. In fact, both MacDonald and Eddy had highly successful solo recital careers after their breakup. Movie build-ups last only so long. After that, it's up to talent.No, Rose Marie wasn't Gone With the Wind, but it wasn't a 1936 Rocky Horror Show either. To call it camp or kitsch is ill-informed and incompetent. So you graduates of the David Thomson (a hack who seems to have callow film snobs in his thrall) school of criticism, get a life. Rose Marie is a fine work of it's genre - a filmed operetta, no more, no less. Watch it as that and enjoy!Oh yes, a note about the mutual feelings between MacDonald and Eddy, again dismissed by an ill-informed reviewer: documents submitted by their children are more than just "gossip." Also, before speaking about something you know nothing about, why not check out a photo of MacDonald's beloved husband, Gene Raymond. Remind you of anyone you know?