“If I should ever call you, would you answer me?”
Can you hear it? I’m sure you can. As seemingly interminable as this sequence is, the rest of the film also leaves much to be desired. MacDonald’s diva singer is simply insufferable (though her behavior is presented as acceptable and perhaps even expected), and her blind adoration for a murderous brother (Stewart, in his break-through role) merely lowers one’s opinion of her even further (then again, perhaps filial loyalty was considered such a virtue that this was overlooked). MacDonald’s romance with stiff-as-cardboard Nelson Eddy is as inconsequential as could be; we’re made to understand that two such compelling operatic voices simply must be together. Film fanatics may be curious to watch this film once, to hear “When I’m calling you…” in its original context — but it otherwise should be relegated to historical vaults.
Redeeming Qualities and Moments: