Nelson Eddy was always considered a dull non-actor with a nice voice, no histrionic match for his usual co-star Jeanette MacDonald (who became increasingly coy and diva-ish with every passing movie). Here, opposite Rise Stevens in a musical updating of Molnar's "The Guardsman," he gets to exercise some hitherto unknown comic energy, and he's quite good-- not up to Alfred Lunt, perhaps, who played the role in MGM's 1931 non-musical version, but pleasingly hammy and with genuine comic timing. Stevens has a nice personality and, of course, a lovely Met soprano, but she's unflatteringly photographed, and she's playing a not very likable character. With minor roles given to Nigel Bruce and Florence Bates, Eddy and Stevens are pretty much the whole show, and they navigate the Oscar Straus melodies (and a few others) and worn marital-discord plot expertly. Made during the Hays Code years, it's less spicy than the original -- we're never in doubt as to whether the wife realizes her husband's exploits or not -- and takes place in a mittel-European never-never-land that never, never intrudes on reality. Once you get used to all the artifice and MGM overproduction, it's quite enjoyable. And it suggests Eddy may have had a productive career in comedy.

"Men like him don't grow on trees", operetta performer Rise Stevens insists upon meeting a dashing Russian singer. "No", her companion Nigel Bruce retorts. "They swing on them." I'm not sure if Rasputin grew up on a tree or not, but that's who Nelson Eddy resembles in his over-the-top disguise, playing a jealous husband testing his wife's fidelity. They are the Lunt and Fontanne of European operetta, starring in a production of "The Chocolate Soldier", but they might as well be Howard Keel and Kathryn Grayson of "Kiss Me Kate", two lovers who obviously need a break from each other but ultimately can't be apart.

The delightful Florence Bates is Stevens' portly dresser whom Eddy comments, "I never argue with women larger than myself". This film contains many such witty lines in spite of being rather high-brow and shrill in its musical sequences, which includes the popular "My Hero" (later sung by Vivian Vance on a memorable "I Love Lucy" episode). The operetta sequences take place on a stage the size of Yankee Stadium, stuffing every open space with dancer, flowers and unnecessary props. As a replacement for Jeanette MacDonald, Stevens is O.K. but considering the history of the play this is based upon ("The Guardsman"), a regular team seems more appropriate with Stevens and Eddy holding off for another pairing.

As for the plot, It doesn't take much to see through Eddy's disguise (especially since it appears that he is wearing a rubber mask) and it seems that Stevens would instantly recognize all the costumes he wears to disguise himself. Eddy does seem to take on a second personality (particularly in a knife-throwing dance number) as his character really gets into his alter-ego, taking away the sometimes wooden performance that frequented in most of his films. Perhaps a break from Jeanette was just what he needed...