Hellen I like the storyline of this show,it attract me so much

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Curt Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

richard-1787 I've seen the Noel Coward operetta on which this movie is - loosely - based, and I didn't much care for that either. MacDonald/Eddy movies worked when the music was good and well staged, but that isn't the case here. The one big number, "I'll see you again," is over within the first five minutes. From there on, it's just forgettable imitation Viennese operetta music ("Tokay," "Ziguener," etc.).Normally, this is one of their movies that I take a pass on.But when I watched it today, I couldn't help notice how heavily it stresses that England is sexually and emotionally very repressive. The romantic couple flees to Vienna, which is described over and over as "gay." When they arrive, they are met by several of the male lead's male friends, who are very effusive in expressing their delight at seeing him.Which set me to wondering: was someone - Coward, the screenwriter - trying to set this up as an allegory of gay Coward's own feelings of sexual repression in England? The male lead, very much unlike in most movie operettas of the time, gets killed in the end, and by a military bully, just the sort who would pick on a gay man. (Though the male lead in this movie is certainly not presented as gay.)Just a thought.

blanche-2 Jeannette MacDonald is an English woman who falls in love with her teacher (Nelson Eddy) and runs away with him to Vienna in "Bitter Sweet," a 1940 musical based on a play by Noel Coward.Sarah (MacDonald) gets away from her family and a man she doesn't love to be with Carl (Eddy) who sings and composes. They have a hard time making ends meet but eventually start making money performing in a club. When a top producer is brought to the club to hear Carl's music, the future looks rosy. It's just an illusion.The film was given a top-notch production in color, and Jeannette not only looks lovely but wears the most glorious gowns! I have always preferred Jeanette's acting to Nelson's and Nelson's singing to Jeanette's. Both of them sound wonderful singing Noel Coward's music, including the beautiful "I'll See You Again." For some reason, both MacDonald and Eddy had uncredited "vocal stand-ins" - I would assume these people did not sing for them but perhaps rehearsed with the musicians, because Nelson and Jeanette sounded like themselves. MacDonald's voice had a fluttery quality and her tone tended to straighten at the top, but the middle voice and lower tones sounded beautiful. And you can't beat her presence. Eddy, of course, was a magnificent singer, totally suited to the operatic stage. He just never seemed that comfortable in front of the camera.Reminiscent of "Maytime," this is a treat for Eddy-MacDonald fans.

jwkenne Noel Coward, who wrote both the words and the music of the original 1929 operetta, called this movie "a nauseating hotchpotch of vulgarity, false values, seedy dialogue, stale sentiment, vile performances, and abominable direction." He found it so offensive that he never again allowed Hollywood to have anything to do with his musicals, and put a clause in his will to that effect.I entirely agree with his evaluation. No one who has had the chance to see the brilliant and heartbreaking original play can look on this bastard tinsel and frou-frou offspring without feeling first incredulity, then disgust, and finally a deep personal hatred for everyone involved in the nasty thing.By the way, the connection between this movie and "Maytime" is complicated. You see, some Hollywood suit didn't like the original show, "Maytime", but wanted to use the title, and so they ripped off the plot of "Bitter Sweet" and combined it with lots of songs that aren't from either "Maytime" or "Bitter Sweet", apart from just one actual "Maytime" song, and called the result "Maytime". (Eddy and MacDonald's movie called "The Chocolate Soldier", similarly, is the plot of the play, "The Guardsman", mixed with some of the songs from "The Chocolate Soldier", but none of the plot.) So when they decided to make "Bitter Sweet", they kept the same basic plot, but dumbed it down, creating this abortion.

Greg Couture Saw this film recently on a Turner Classic Movies TV broadcast and was dazzled once again by an incredibly deluxe production number in which the color palette was limited to aquas, subtle shades of pinks and rose, dazzling whites and ivories and that's about it. It's a song, mounted as part of an operetta, "Ziguener" ("The Gypsy"), in which Jeanette MacDonald is pursued over an enormous, multi-level stage by a flotilla of violin-playing, elaborately costumed musicians as she trills her heart out. It's Hollywood extravagance at its most eye-filling, and the gorgeous Technicolor justifies the Oscar nominations for art direction and color cinematography which this film received. M-G-M gave its "Singing Sweethearts," Jeanette and Nelson Eddy, a lovely vehicle with this one and its like will probably never grace a first-run screen ever again. Thank goodness that TCM occasionally exhumes this one from its vault to delight us every once in a while.