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

JinRoz For all the hype it got I was expecting a lot more!

Freeman This film is so real. It treats its characters with so much care and sensitivity.

Staci Frederick Blistering performances.

ilbarone139 This is an excellent film. Star Cast, Victorian Opulence, Splendid scenery etc etc etc.Although not a big fan of the great profile John Barrymore One can see here what a performer he was. His minor dialogue, all performance visual as Silent Films, The expressions on his face told the tale. Possible spoiler you understand my reference to Pagliacci. Should have been done on stage.Eddy was very good hi baritone.The incomparable Jeanette MacDonald. Her voice mesmerizes us all. Beauty Clarity perfect diction.Herman Bing in a comical role was silly; however this was 1937, hardly known..I viewed this movie numerous times in the past and when Turner TCM shows all Eddy/Macdonald movies this is my ABSOLUTE Favorite.I can only give ten stars worth much higher status. Unfortunately Ms. MacDonald died to young approximately 62. I am sure her husband Gene Raymond would concur.If you have opportunity to view this film do not hesitate your enjoyment would be unparalleled.

John Esche It's fascinating to read in all the well justified praise (and occasional cavil) lavished on the glorious hodge-podge that is MAYTIME, not one word of the great feature film debut at MGM which the film also represented.Since MAYTIME - first filmed in 1923 in a version more faithful to the original but as a "silent" film, lacking ALL of the original music - was contractually obligated to ONLY credit music to the great Sigmund Romberg (whose original show it had been when it opened on Broadway on August 16, 1917, to play for a then astounding 492 performances with songs the studio did not want to use like "Jump, Jim Crow"), the studio called in their youngest contracted composer/lyricists (then only 21 and earning a mere - but lordly during the Depression - $200 a week), Bob Wright and George (Chet) Forrest, who would be willing to do virtually the entire score (not allowed to actually compose, but adapting public domain material under chief studio composer - and early Oscar Hammerstein collaborator - Herbert Stothart's supervision). Wright and Forrest were relegated to billing only for "Special Lyrics by..." (and not even acknowledged for THAT by the IMDb, although the credits are there on the screen!). The film's "Best Score" Oscar nomination didn't even go to Romberg or supervising composer Stothart, but to Nat W. Finston, the head of the studio's Music Division!It was years before "The Boys" would break into the public consciousness with stage adaptations of their own like SONG OF NORWAY and KISMET, and their own (always their first choice) original music for shows like KEAN and GRAND HOTEL, but the result on MAYTIME (including their faux Russian opera for the film, drawn from Tschaikowsky's 5th Symphony, translated from their original English into French by another poet not credited by IBDB - in a talk at the New York Sheet Music Society in 1989, Bob Wright said it was U.S. Sigey, but the screen credits say Gilles Guilbert) was a triumph of craft and carefully catering to the strengths of the stars who they were writing for. Witness in particular a couple numbers ("Song of The Carriage" and a number where Eddy proposes to prepare a ham and egg breakfast for MacDonald) crafted for the limited acting range of Nelson Eddy, giving him something to DO while he sang! LOTS of great Broadway names worked under almost forgotten under-billed capacities (Larry Hart of Rodgers & Hart fame did lyrics for the Maurice Chevalier MERRY WIDOW!), but Wright & Forrest were among the most prolific and best, and MAYTIME was their first major film "credit." It's only a pity (given the high quality of their few surviving original scores) that in the ways of Hollywood, MAYTIME also "typecast" them into adapting other composers' works for the bulk of their careers.

dref4508 Because there was nothing suitable in the opera repertoire for a baritone and a soprano to sing together! And Romberg's music wasn't used because it was too expensive; practically everything in the film score was in public domain or composed for the film. Likewise, filming in color was nixed in a cost-cutting move (though, frankly, I can't imagine how this film could be any better in color!) Movie-making is all and always about compromise. A little research into Herbert Stothart's tonal plan for this film will help you understand it better, if understanding the technicalities will help you appreciate it more. But just enjoy "Maytime" for what it is, not what it isn't. A lovely, opulent, romance treasure. Don't be afraid to like it!

Nodumblonde Of all of Nelson Eddy and Jeanette Macdonald's movies, this one stands out as having such a variety of beautiful music. There are opera songs taken from many operas as well as "ordinary" songs. You may not remember any of the opera songs but the title song, "Maytime," will never leave your musical memory once you hear it.Sometimes it's hard to "suspend disbelief" and not look at "actors" and "technique," but it's easy with this one. Nelson is very believable as the rollicking American with the gorgeous baritone voice and of course, Jeannette MacDonald in the role of a famous opera singer is totally on target.You keep rooting for them to get together and honestly, you won't know until the very end! Sentimentalists--watch this wonderful movie.