When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

At the height of their careers, MacDonald and Eddy managed to disappoint many of their most ardent fans."Jeanette MacDonald and Nelson Eddy are like tapioca," wrote Frank Nugent of the New York Times. "Either you like them or you don't." With this film the public began dividing into two camps: those who loved the splendid entertainment Jeanette and Nelson promised in a good film and those who would be content to watch them read (or sing) the proverbial phone book. Musically, this1938 movie abounds in some of the loveliest melodies Sigmund Romberg could write and musical director Herbert Stothart outdid himself in vibrant orchestrations. Unfortunately, M-G-M also dramatized uninteresting incidents only mentioned in the stage version and made maximum use of extremely obvious sound stage exteriors. The Girl of the Golden West was the first weak MacDonald-Eddy vehicle and didn't bring much glory to anyone. While it was one of the top moneymakers of the year, the split between the general public and the "fans" was beginning. The uncritical enthusiasm of the second only served to reinforce the opinion of the former that all MacDonald-Eddy films were "silly." On top of the cool critical reception to The Firefly and Rosalie, their previous solo films, Girl represented a distinct minus for their careers.OTHER VIEWS: The foremost criticism of Girl was its length combined with the weak plot. Variety thought it was twenty minutes too long, the New York Post said thirty minutes, and the New York World-Telegram acknowledged that there may have been longer films but "few others have seemed as long." The reviewer continued: "the story is neither distinctive nor sturdy and hasn't been helped much by the diffused direction." Jeanette's singing also drew uniform raves, but her characterizations varied from "excellent" (New York Post) to "a little bit embarrassing" (New York World Telegram). All in all, this was one of the big disappointments of my picture-going youth. The impossible script seems to have defeated almost everyone: Director, leads, photographer, set designers, film editor. A major wasteland of talent, the script can only be described as a tediously trite collection of old-fashioned theatrics. Even the Romberg songs fail to perk up or alleviate the long winded, pedestrian proceedings.

Closer to Belasco's play than to Puccini's opera(though there are elements of it), The Girl of the Golden West is not going to get awards for originality- though actually still one of the better stories of the Nelson Eddy/Jeanette MacDonald collaborations- and Nelson Eddy's Ramirez accent is very unconvincing. The Girl of the Golden West even with those flaws taken into account is still really good fun, and one of the better Eddy-MacDonald collaborations. The two stars are fine, MacDonald is the much better actress and does sassy, beautiful and charming wonderfully, but Eddy is a likable partner. Both are in fine voice too, especially Eddy who even when his acting is not up to par always captivates by the strength and beauty of his voice. MacDonald sounds great too, and blends very nicely with Eddy. Walter Pidgeon is handsome and authoritative, managing some menace as well as a sympathetic side as Rance. Buddy Ebsen is very sweet and funny, and comes close sometimes to stealing the film. The Girl of the Golden West looks good, it's photographed with care and the Old West sets are evoked really beautifully and convincingly. The songs and score are rich in orchestration and carry the film very well, the best of them Who are We to Say, Mariache, Shadows on the Moon and Winds in the Trees are wonderful. The dialogue is true to the period the film is set in and has moments of great wit. The story is told briskly and with great charm, the romantic elements are appropriately tender and you are convinced by Eddy and MacDonald as lovers. The characters are not original either but are still interesting, especially Mary and Rance. The ending is true in spirit to that of Puccini's opera, it may be very Hollywood-ish and unbelievable- with Rance giving up so easily- to some, but it was nice to see a somewhat different side to Rance in this scene. Overall, very easy to like and does a great job charming and entertaining. 8/10 Bethany Cox

Focusing on Nelson Eddy, it was with some astonishment to read his pre-film operatic bio. A remarkable 33 total repertoire which he essayed during the late 20s and up to that "fateful" 1920 concert when he stepped in at the last minute to replace an ailing Lotte Lehmann.That success led to his film contract, a new career as a film star and a semi-end to his exhaustive operatic career.Yet, he may have done his most impressive singing during his leading stint with the Philadelphia Civic Opera. I was impressed to discover he sang under the distinguished batons of Stokowski, Reiner, Respighi and Toscannini. And reading his press reviews online pointed to his having critics and public alike in the palm of his hands.By the time his film roles came around, his voice seemed to have taken on a slight strain and occasional throaty quality. But his first rate musicianship never let down.He, along with Jeanette MacDonald, respected the legato line, shaping each vocal phrase with sensitivity and beauty.Their solo and duo renditions in "The Girl of the Golden West" show their artistic integrity. Tenutos, ritards, and fermatas are all given their due, all the while integrating their vocalism with their character and dramatic situations.As for Eddy, he went on to make some nineteen films, then did the impossible: sustained a triumphant fifteen year post-film career as a nightclub singer. The public apparently couldn't get enough of this fine baritone, who worked as a true star with nary a career lull until he literally dropped dead onstage.In "The Girl of the Golden West" Eddy is seen to advantage, along with MacDonald, and what could be a dated piece turns into an tender romance.Sigmund Romberg's original songs are fetching, particularly the love ballad, and Herbert Stodart's orchestrations are rich and luminous.

Very well defined characters faithfully portrayed by the actors. Perfectly placed musical numbers, engrossingly rendered by the supreme vocalists of their time, Nelson Eddy and Jeanette MacDonald. Each song melodic and memorable to this day, sixty four years later. Especially enjoyable was the voice and instrumental duet by 'Mary' and 'Alabama'...did Buddy Ebson actually play the pipe part, or was it dubbed? I have had a life-long curiosity about this aspect of the movie. Thanks for the opportunity to comment.