An operetta, with Alan Jones replacing the usual Nelson Eddy as Jeanette's costar, unfortunately, their only film starring together. Jones had a subsidiary role as the lead male in two partial operas with Jeanette in the previous "Rose Marie". Lots of ornate traditional European pageantry, beginning with a major festival, decreed by young King Ferdinand. The reason for this celebration isn't clearly specified. However, a good guess would be his recent coronation and/or the recent conquest of Portugal by a combined Spanish-French force. However, this happiness will be short-lived as Napoleon has plans to keep substantial troops in Spain, and replace the Spanish government with one of his own, headed by his brother Joseph.
The title is taken from Rudolf Friml's 1912 operetta. However, the rather mundane plot of the original was discarded for a much more complicated and historically interesting one. The screenplay concentrates on the period just before and after the French takeover of Spain in 1809, then skips about 5 years, until the British and Portuguese forces are finally making headway in joining the various Spanish partisan groups toward liberating Spain.
Most of Friml's original songs were retained. In addition, Friml was employed(now 25 years later) to compose additional songs: the most remembered being "The Donkey Serenade", sung by Jones, as he rides a horse alongside a stagecoach carrying Jeanette, trying to interest her in a romantic relationship. This scene is staged in the spectacular Alabama Hills, near Lone Pine: the main local for many a western, especially. A flute-playing boy, and guitar-playing stage driver aid Jones(Don Diego or Captain Andre))in his quest.
Yes, as a few reviewers have complained, the plot is rather complicated, both from the viewpoint of the historical setting, and the political and emotional relationships between the characters played by Jeanette and Jones, and between Jeanette and Major de Rouchemont, as well as the Marquis de Melito. Jeanette plays Nina Maria: a famous singer and dancer, as well as Spanish spy, sometimes sent to dazzle high ranking French officers, and hopefully obtain militarily important info. Jones is sent by the French to keep an eye on her, thus they are on opposite sides of the political struggle, yet increasingly drawn to each other emotionally. This doesn't seem to make sense. If the French know/suspect that she is a spy, why do they allow her access to high ranking military officers??
Jeanette looks and acts radiant throughout this production, often in various ornate costumes. As with most of her best-remembered films, it was shot in B&W, thus she appears to be a brunette. She often dances enticingly, along with her singing.. Jones makes an excellent singing companion for her, as well as occasionally soloing. Unfortunately, he wasn't very distinctive looking, nor tall, like Nelson Eddy: Jeanette's usual singing male costar. Thus, with a few exceptions, MGM relegated him to minor films. Just the year before, he had costarred in the popular film version of Kerns' "Showboat". However, he had disappointing film roles after the present one, thus moved to Universal in 1940, where he fared no better. Some people prefer him to Eddy, whom they complain was too wooden in his acting. I don't find Eddy inherently wooden: just playing his frequent stalwart characters as they should be, in the traditional acting style of these operettas.
Returning to the political-military aspects of the film, we have the replacement of Spanish king Ferdinand with Napoleon's brother Joseph, after the French successfully defeat the Spanish armies. In the later portions of the film, the Duke of Wellington is the guiding light of the allies armies(British, Portuguese, and Spanish forces). After an initially success the year before, he was forced to retreat southward in the face of overwhelming French forces in the north. However, over the winter, the military situation drastically changed. While Napoleon's Grand Army was gradually decimated in the disastrous Russian campaign, the allies forces swelled with new recruits. Thus, Wellington now feels he has the manpower and cannon power to defeat the shrunken French armies in Spain. He has a plan to deceive the French army in the battlefield. Jeanette's Nina has a complicated role in this deception, and she again encounters Don Diego(Jones) in this operation. The allies defeat the French in the pivotal historical Battle of Vitoria, and the French soon are forced to leave Spain for good. With hostilities ended, and Nina's death sentence commuted, Nina and Don Diego feel they can finally resume their former romantic relationship, to end the film. But first, she must find Diego among the wounded in a makeshift hospital. The finale has them riding off into the sunset in a little horse-drawn wagon, singing their hearts out to reprises of "The Donkey Serenade", followed by "Giannina Mia", which were 2 of the previous 3 love songs sung by Diego to Nina.
The title is taken from Rudolf Friml's 1912 operetta. However, the rather mundane plot of the original was discarded for a much more complicated and historically interesting one. The screenplay concentrates on the period just before and after the French takeover of Spain in 1809, then skips about 5 years, until the British and Portuguese forces are finally making headway in joining the various Spanish partisan groups toward liberating Spain.
Most of Friml's original songs were retained. In addition, Friml was employed(now 25 years later) to compose additional songs: the most remembered being "The Donkey Serenade", sung by Jones, as he rides a horse alongside a stagecoach carrying Jeanette, trying to interest her in a romantic relationship. This scene is staged in the spectacular Alabama Hills, near Lone Pine: the main local for many a western, especially. A flute-playing boy, and guitar-playing stage driver aid Jones(Don Diego or Captain Andre))in his quest.
Yes, as a few reviewers have complained, the plot is rather complicated, both from the viewpoint of the historical setting, and the political and emotional relationships between the characters played by Jeanette and Jones, and between Jeanette and Major de Rouchemont, as well as the Marquis de Melito. Jeanette plays Nina Maria: a famous singer and dancer, as well as Spanish spy, sometimes sent to dazzle high ranking French officers, and hopefully obtain militarily important info. Jones is sent by the French to keep an eye on her, thus they are on opposite sides of the political struggle, yet increasingly drawn to each other emotionally. This doesn't seem to make sense. If the French know/suspect that she is a spy, why do they allow her access to high ranking military officers??
Jeanette looks and acts radiant throughout this production, often in various ornate costumes. As with most of her best-remembered films, it was shot in B&W, thus she appears to be a brunette. She often dances enticingly, along with her singing.. Jones makes an excellent singing companion for her, as well as occasionally soloing. Unfortunately, he wasn't very distinctive looking, nor tall, like Nelson Eddy: Jeanette's usual singing male costar. Thus, with a few exceptions, MGM relegated him to minor films. Just the year before, he had costarred in the popular film version of Kerns' "Showboat". However, he had disappointing film roles after the present one, thus moved to Universal in 1940, where he fared no better. Some people prefer him to Eddy, whom they complain was too wooden in his acting. I don't find Eddy inherently wooden: just playing his frequent stalwart characters as they should be, in the traditional acting style of these operettas.
Returning to the political-military aspects of the film, we have the replacement of Spanish king Ferdinand with Napoleon's brother Joseph, after the French successfully defeat the Spanish armies. In the later portions of the film, the Duke of Wellington is the guiding light of the allies armies(British, Portuguese, and Spanish forces). After an initially success the year before, he was forced to retreat southward in the face of overwhelming French forces in the north. However, over the winter, the military situation drastically changed. While Napoleon's Grand Army was gradually decimated in the disastrous Russian campaign, the allies forces swelled with new recruits. Thus, Wellington now feels he has the manpower and cannon power to defeat the shrunken French armies in Spain. He has a plan to deceive the French army in the battlefield. Jeanette's Nina has a complicated role in this deception, and she again encounters Don Diego(Jones) in this operation. The allies defeat the French in the pivotal historical Battle of Vitoria, and the French soon are forced to leave Spain for good. With hostilities ended, and Nina's death sentence commuted, Nina and Don Diego feel they can finally resume their former romantic relationship, to end the film. But first, she must find Diego among the wounded in a makeshift hospital. The finale has them riding off into the sunset in a little horse-drawn wagon, singing their hearts out to reprises of "The Donkey Serenade", followed by "Giannina Mia", which were 2 of the previous 3 love songs sung by Diego to Nina.