This is one of the more difficult films to grade. Plagued by editing that makes an already strange story even more disjointed, "I Married an Angel" is an ambitious project that deserves points just for its audacity. The bulk of the story is a dream sequence. As such, it is not subject to limitations of reality or reason. Count Palaffi (Nelson Eddy), the dreamer, is visited by an angel who intends to marry him. His unconscious mind tries to resolve the difficulties that could result from such a spirit-mortal pairing. These scenes are, like dreams, whimsical and sometimes irrational. Non sequiturs abound.The film is fortunate to feature a couple of standards by Rodgers and Hart. It also includes many beautiful women and some wonderful fashions, though in B&W. Jeanette MacDonald, as the angel, is the highlight of the film. She demonstrates a variety of talents, including jitterbugging and some comedic turns that remind one of Gracie Allen. On the other hand, her voice is not ideally suited to some more modern (less classical) tunes.Great production values and stages filled with performers cannot totally save this film. Jeanette appears to have a ball, but Nelson seems awkwardly out of place. The early scenes nearly convinced me to stop watching, but its campiness and the pure chutzpah of its ambitions partially won me over.

I guess in Hollywood's mind, when an angel commits the pleasures of the flesh (if that is possible), then they are going to loose their wings. And in the case of Jeanette MacDonald's angel here, she looses her wings twice: one a cardboard costume piece, the other one a feathered version which appears to be the real thing. MacDonald is a secretary in the bank run by wealthy Nelson Eddy who is invited to his birthday party and given a cheap looking costume obviously meant to embarrass her for giving fresh flowers to him every day by his jealous head secretary. She makes an awkward entrance to hoards of laughter by the snobbish ladies all decked out in their finery, but her innocence is bound to capture the handsome Eddy who for some reason dreams of her appearing to him as a real angel rather than the more sophisticated females who made fun of the lady.The opening of the party sequence is highlighted by a lavish "Ziegeld Follies" style production number where all of the wanna-be brides of the very single Eddy sing and dance in order to get his attention. Then, his sister (an outrageous Binnie Barnes) makes her entrance, and you see where the film intends to move into tongue-in-cheek in the dream sequence. This is fluff of the highest nature, and MGM goes overboard to give its war weary audiences something to sink their eyes into so they can forget about the issues of the day.An angel cannot tell a lie, we hear, and MacDonald's is no different than any other every day ordinary angel. "My husband and I are arguing over whether or not this dress makes me look fat", a stout party guest tells her. "The dress doesn't make you look fat. You are fat.", she tells the guest, turning the woman's smile into a shocked sneer. That's just the beginning as she reveals certain infidelities and other secrets that only an angel would know. This gains the amusement of one of Eddy's biggest stockholders (Douglas Dumbrille) and sets up the film for its only really serious plot as Eddy and MacDonald are separated as his bank is put in jeopardy by Dumbrille's threats to destroy him.Probably the lightest in atmosphere for the MacDonald/Eddy pairings, this is an underrated finale to their 7 year teaming. The chance to hear MacDonald singing a bit from "Carmen" is the highlight of a sequence where Eddy witnesses MacDonald heading all over the world with the scoundrel Dumbrille and realizes just what she has come to mean to him. W.S. Van Dyke, as with previous entries in the series, presents a lavish atmosphere, yet made more lighthearted with the comical storyline that is all fluff and yet delicious to look at.

It was not planned that way, but as it turns out the film adaption of the Rodgers&Hart Broadway musical I Married an Angel turned out to be the last pairing of Nelson Eddy and Jeanette MacDonald. Nelson in fact left Metro-Goldwyn-Mayer after this film and bought his own contract out for $250,000.00 according to a recently published book about the pair by Sheryl Rich.They are in good voice and the songs of Rodgers&Hart never got a better treatment. Unfortunately the film ran into some censorship problems about celestial creatures doing some very earthly things. Rodgers&Hart were busy on Broadway and couldn't help. Two very big shows for them, Pal Joey and By Jupiter kept them occupied.Nelson is a happy carefree Hungarian playboy who's grandfather started the Bank of Budapest. But Nelson would rather spend his time with wine, women, and song and since it's Nelson Eddy, song doesn't take third place to the other two. At his birthday party he's taken by a little known to him employee at the bank in an angel costume. Guess who that is? Feeling a little the worse for wear from the revelry, Nelson takes a little snooze.During the dream Jeanette appears to him as a real angel and Nelson is smitten. He asks her to marry him and she agrees. She's without a dishonest bone in her heavenly body. Unfortunately her time in heaven has not prepared her to deal with certain earthly hypocrisies. It's one wild celestial ride that Jeanette gives Nelson.The title song, I'll Tell the Man in the Street, and Spring is Here are the big hit numbers from the Broadway show and the stars do them well. The satire comes off far better here than it did for Jeanette and Nelson in Bittersweet, but still censorship really crippled some of the best lines from Broadway.Binnie Barnes, Reginald Owen, Edward Everett Horton and Douglass Dumbrille give good support to the singing sweethearts. Barnes practically steals the show as the wisecracking earthly friend of MacDonald who sets out to teach her worldly ways. I think fans of MacDonald and Eddy and others who do knock this film ought to give it a second look. It's not as bad as some would make it out to be.

The final pairing of Nelson Eddy and Jeanette MacDonald is basically a complete misfire.The script is weak and has been presented badly.The film just has no life in it.Eddy and MacDonald would have been better off just making a filmed concert for their final pairing.There's nothing wrong with their singing,its just everything else in this turkey thats overcooked.