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Jeanette MacDonald (June 18, 1903 – January 14, 1965) was an American singer and actress best remembered for her musical films of the 1930s with Maurice Chevalier (Love Me Tonight, The Merry Widow) and Nelson Eddy (Naughty Marietta, Rose Marie, and Maytime). During the 1930s and 1940s she starred in 29 feature films, two nominated for Best Picture Oscars, and recorded extensively, earning three Gold Records. She later appeared in grand opera, concerts, radio, and television. MacDonald was one of most influential sopranos of the 20th century, introducing grand opera to movie-going audiences and inspiring a generation of singers.
Early YearsJeanette Anna MacDonald was born June 18 1903 at her family's Philadelphia home at 5123 Arch Street. She was the youngest of the three daughters of Daniel and Anna Wright MacDonald. At an early age, the fledgling prima donna graduated from tap dancing in front of the mirror to dancing lessons with Al White, and from imitating her mother's opera records to singing lessons with Wassil Leps. She eagerly performed at church and school functions, and began touring in kiddie shows. Broadway
While MacDonald was appearing in Angela, film star Richard Dix spotted her and had her screen-tested for his film Nothing but the Truth. But the Shuberts wouldn’t let her out of her contract to appear in the film, which starred Dix and Helen Kane, the “Boop-boop-a-doop girl.” In 1929, famed film director Ernst Lubitsch was looking through old screen tests of Broadway performers and spotted MacDonald. He cast her as the leading lady in his first sound film, The Love Parade, which starred the continental sensation Maurice Chevalier. Fortunately, both she and this first of her 29 feature films were enormous hits. Motion PicturesThe Paramount YearsIn the first rush of sound films, 1929-30, MacDonald starred in 6 films, the first 4 for Paramount Studios. Her first was The Love Parade (1929), directed by Lubitsch and co-starring Chevalier, a landmark of early sound films. The film received a Best Picture nomination. MacDonald's first recordings were two hits from the score: “Dream Lover” and “March of the Grenadiers.” The Vagabond King (1930), was a lavish 2-strip Technicolor film version of Rudolf Friml’s hit 1925 operetta. Broadway star Dennis King reprised his role as 15th-century French poet François Villon and MacDonald was Princess Katherine. She sang “Some Day” and “Only a Rose.” U.C.L.A. own the only known color print of this production. Paramount on Parade (1930) was a Paramount all-star revue. All studios issued similar mammoth sound revues to introduce their formerly silent stars, now talking and singing, to the public. MacDonald’s footage singing a duet of “Come Back to Sorrento” with Nino Martini was cut from the release print. Let’s Go Native (1930), was a desert island comedy directed by Leo McCarey, co-starring Jack Oakie and Kay Francis. Monte Carlo (1930) was another highly regarded Lubitsch classic, with British musical star Jack Buchanan as a count who disguises himself as a hairdresser to woo a scatterbrained countess (Macdonald). MacDonald introduced “Beyond the Blue Horizon” which she recorded three times during her career. In hopes of producing her own films, MacDonald went to United Artists to make The Lottery Bride (1930). Despite music by Rudolf Friml, it was one of the glut of really bad musicals that turned the public against the genre. MacDonald next signed a 3-picture deal with Fox. Oh, for a Man! (1930) was more successful; MacDonald portrays a temperamental opera singer who sings Wagner's "Liebestod" and falls for an Irish burglar played by Reginald Denny. Don’t Bet on Women (1931) is a non-musical drawing room comedy in which playboy Edmund Lowe bets his happily married friend Roland Young that he can seduce Young’s wife (MacDonald). Annabelle’s Affairs (1931), was a delightful farce with MacDonald as a sophisticated New York playgirl who doesn’t recognize her own miner husband, played by Victor MacLaglen, when he turns up 5 years later. Highly praised by reviewers at the time, only one reel survives of this film.
The MGM / Nelson Eddy YearsIn 1933, MacDonald left again for Europe and while there, signed with MGM. Studio head Louis B. Mayer lured MacDonald to MGM where her first film was The Cat and the Fiddle (1933), a Jerome Kern Broadway hit. Her co-star was Ramon Novarro (Ben Hur), who was being eased out of the system by Mayer due to personal scandals. The plot about unmarried lovers shacking up just barely slipped through the new censorship guidelines; despite a Technicolor finale the film was not a huge success. In The Merry Widow (1934), director Ernst Lubitsch reunited Maurice Chevalier and MacDonald in a lavish and superb version of the classic 1905 Franz Lehár operetta. The film was highly regarded by critics and operetta lovers in major U.S. cities and Europe, but failed to generate much income outside urban areas. It had a huge budget, partially because it was filmed simultaneously in French, with a French supporting cast and some minor plot changes. (The French version is less politically satirical.) Identical sets and costumes were used for La Veuve Joyeuse, with each scene filmed twice, first in one language, then the other. Naughty Marietta (1935), directed by W.S. Van Dyke, was MacDonald’s first film in which she teamed with newcomer baritone Nelson Eddy. It was a huge hit. Victor Herbert’s 1910 score, with songs like “Ah, Sweet Mystery of Life,” “I’m Falling in Love with Someone,” “’Neath the Southern Moon,” “Tramp, Tramp, Tramp,” and “Italian Street Song,” enjoyed renewed popularity. The film won an Oscar for sound recording and received an Oscar nomination for Best Picture. It was voted one of the Ten Best Pictures of 1935 by the New York film critics, was awarded the Photoplay Gold Medal Award as Best Picture of 1935 (beating out Mutiny on the Bounty, which won the Oscar), and, in 2004, was selected to the National Registry of Films. MacDonald earned Gold Records for “Ah, Sweet Mystery of Life” and “Italian Street Song.” The following year, MacDonald starred in two of the highest-grossing films of that year. In Rose Marie (1936), she and Nelson Eddy sang Rudolf Friml’s “Indian Love Call” to each other in the Canadian wilderness (actually filmed at Lake Tahoe). Eddy’s definitive portrayal of the steadfast Mountie became a popular icon. When the Canadian Mounties temporarily retired their distinctive hat in 1970, photos of Eddy in his Rose Marie uniform appeared in thousands of U.S. newspapers. MacDonald plays a haughty opera diva who learns her kid brother (James Stewart) has killed a Mountie and is hiding in the northern woods; Eddy is the Mountie sent to capture him. San Francisco (1936), was also directed by W.S. Van Dyke. In this tale of the 1906 San Francisco earthquake, MacDonald played a hopeful opera singer opposite Clark Gable as the he-man proprietor of a Barbary Coast gambling joint, and Spencer Tracy as his boyhood chum who gives the moral messages. The earthquake footage is considered exemplary even today. The title song by Bronislau Kaper and Gus Kahn remains popular today and is the official song of the city. Oscar nominations included Best Picture, Best Actor (Spencer Tracy), Best Director, Best Original Story (Robert Hopkins), Best Assistant Director (Joseph Newman). On the “Ten Best” lists of the New York Film Critics and Film Daily. Winner of Photoplay's Gold Medal Award, 1936. In the summer of 1936, filming began on Maytime, co-starring Nelson Eddy, Frank Morgan and Paul Lukas, produced by Irving Thalberg. After Thalberg's untimely death in September, the production was shut down and the half-finished film was scrapped. A new script was filmed with a different storyline and supporting actors (including John Barrymore). The 'second' Maytime (1937), was the top-grossing film worldwide of the year and is regarded as one of the best film musicals of the 1930s. “Will You Remember” by Sigmund Romberg brought MacDonald another Gold Record. Maytime's powerful climactic scene still draws gasps of horror when the film plays in theaters today. The Firefly (1937), was MacDonald’s first solo-starring film at MGM with her name alone above the title. With real-life Americans rushing to fight in the ongoing revolution in Spain, this historical vehicle was constructed around a previous revolution in Napoleanic times. Rudolf Friml’s 1912 stage score was borrowed and a new song, “The Donkey Serenade,” added. MacDonald's co-star was Allan Jones. The MacDonald-Eddy team had split after MacDonald's engagement and marriage to Gene Raymond, but neither of their solo films grossed as much as the team films and by the fall of 1937, MGM was barraged with outraged fan mail. The Girl of the Golden West (1938) was the result, but the two stars had little screen time together and the main song, "Obey Your Heart," was never sung as a duet. The film had an original score by Sigmund Romberg and reused the popular David Belasco stage plot (also employed by opera composer Giacomo Puccini for La Fanciulla del West. Image:Nelson Eddy and Jeanette MacDonald in Sweethearts trailer.jpg Eddy and MacDonald from the trailer for Sweethearts (1938) Mayer had promised MacDonald the studio's first Technicolor feature and he delivered with Sweethearts (1938), co-starring Eddy. In contrast to the previous film, the co-stars were relaxed onscreen and singing frequently together. This box office smash hit integrated Victor Herbert’s 1913 stage score into a modern backstage story scripted by Dorothy Parker. MacDonald and Eddy played a husband and wife Broadway musical comedy team who are offered a Hollywood contract. Sweethearts won the Photoplay Gold Medal Award as Best Picture of the Year. After MacDonald suffered a miscarriage (Eddy's child) during the filming of Sweethearts (according to the book Sweethearts by Sharon Rich, page 237), Mayer dropped plans for the team to co-star in Let Freedom Ring, a vehicle first announced for them in 1935. Eddy made that film solo while MacDonald and Lew Ayres (Young Dr. Kildare) co-starred in Broadway Serenade (1939). They played a contemporary musical couple who clash when her career flourishes while his flounders. MacDonald's performance was subdued (Eddy married Ann Franklin during the filming) and choreographer Busby Berkeley, just hired away from Warner Bros., was called upon to tack on a bizarre, over-the-top finale in a vain effort to improve the film. Following Broadway Serenade, MacDonald left Hollywood on a concert tour and refused to re-sign her MGM contract. Eddy starred in a second solo film, Balalaika while MacDonald's manager was summoned from London to help her renogotiate. After initially insisting she film Smilin' Through with James Stewart and Robert Taylor, MacDonald finally relented and agreed to film New Moon (1940) with Eddy. New Moon proved one of MacDonald’s most popular films. Composer Sigmund Romberg’s 1927 Broadway hit provided the plot and the songs: “Lover, Come Back to Me,” “One Kiss,” and “Wanting You,” plus Eddy’s rousing “Stout Hearted Men.” This was followed by Bitter Sweet (1940), a Technicolor film version of Noël Coward’s 1929 stage operetta. Smilin’ Through (1941) was MacDonald's next Technicolor project. This 1919 stage play had been filmed a number of times. Its theme of reunion with deceased loved ones was enormously popular after the devastation of World War I, and MGM reasoned that it should resonate with filmgoers during World War II. MacDonald played a dual role—Moonyean, a Victorian girl accidentally murdered by a jealous lover, and Kathleen, her niece, who falls in love with the son of the murderer. The original co-stars, James Stewart and Robert Taylor, dropped out to help in the military effort and were replaced by Brian Aherne and Gene Raymond. Public domain music was used. I Married an Angel (1942), was adapted from the sophisticated Rodgers & Hart stage musical about an angel who loses her wings on her wedding night. The script by Anita Loos suffered serious censorship cuts during filming that made the result less successful. MacDonald sang “Spring Is Here” and the title song. It was the final film made by the team of MacDonald and Eddy. After a falling-out with Mayer, Eddy bought out his MGM contract (with one film left to make) and went to Universal, where he signed a million-dollar, two-picture deal. MacDonald remained for one last film, Cairo (1942), a cheaply-budgeted spy comedy co-starring Robert Young (Father Knows Best) and Ethel Waters, who played MacDonald's singing maid. The Final YearsMacDonald followed Eddy to Universal, where they were scheduled to make one film together after he finished Phantom of the Opera (1943). Macdonald marked time by appearing as herself in Follow the Boys (1944), an all-star extravaganza about Hollywood stars entertaining the troops. The more than 40 guest stars included Marlene Dietrich, W.C. Fields, Sophie Tucker and Orson Welles. MacDonald is shown during an actual concert singing “Beyond the Blue Horizon,” and in a studio-filmed sequence singing “I’ll See You in My Dreams” to a blinded soldier. After MacDonald and Eddy left MGM in 1942, they appeared frequently on radio together while planning several unrealized films that would have reunited them onscreen. Eddy was upset at how his first film turned out at Universal so their joint project at that studio fell through. They next sought independent financing for team projects like East Wind and Crescent Carnival, a book optioned by MacDonald. Other thwarted projects were The Rosary, a 1910 best seller (which Nelson Eddy pitched for a team comeback at MGM), The Desert Song and a remake of The Vagabond King, plus two movie treatments written by Eddy, "Timothy Waits for Love" and "All Stars Don't Spangle." In 1954 Eddy pulled out of yet another proposed team film to be made in England when he learned MacDonald was investing her own funds. He had invested in 1944's Knickerbocker Holiday, and had lost money. MacDonald returned solo to MGM after 5 years off the screen for two films. Three Daring Daughters (1948), co-starred José Iturbi as her love interest. Jeanette plays a divorcée whose lively daughters (Jane Powell, Ann E. Todd, and Elinor Donahue) keep trying to get her back with her ex, while she has secretly remarried. “The Dickey Bird” song made the Hit Parade. The Sun Comes Up (1949), teamed two of MGM's most successful female stars, Jeanette MacDonald and Lassie, in a melodramatic enlargement of a touching short story by Marjorie Kinnan Rawlings. MacDonald played a widow who has also lost her son, but warms to orphan Claude Jarman Jr. (of The Yearling fame). It was her final film. An annual poll of film exhibitors listed Jeanette MacDonald as one of the ten top box-office draws of 1936, and many of her films were among the top 20 moneymakers of the years they were released. During her 39-year career, Jeanette MacDonald earned two stars in the Hollywood Walk of Fame (for films and recordings) and planted her diminutive feet in the wet cement in front of Graumann’s Chinese Theater. ConcertsStarting in 1931 and continuing through the 1950s, MacDonald did regular concert tours between films. Her first European tour was in 1931, where she sang in both France and England. Her first American concert tour was in 1939, immediately after the completion of Broadway Serenade and Nelson Eddy's marriage. After that she, like him, did frequent U.S. tours between films. She sang several times at the Hollywood Bowl and Carnegie Hall. When America joined World War II in 1942, MacDonald was one of the founders of the Army Emergency Relief and raised funds on concert tours. She auctioned off encores for donations and raised over $100,000 for the troops. President Roosevelt, who considered MacDonald and Eddy two of his favorite film stars, awarded her a medal. She also did command performances at the White House for both Presidents Harry Truman and Dwight Eisenhower. RecordingsMacDonald recorded more than 90 songs during her career, working exclusively for RCA-Victor in the United States. She also did some early recordings for HMV in England and France while she was there on a concert tour in 1931. She earned three Gold Records, one for an LP album that she did with Nelson Eddy in 1957. Critic J. Peter Bergman writes of her work: “Whether singing the sophisticated, brittle, and edgy songs from her Paramount films with Chevalier or the romantic exercises from her MGM operettas, Jeanette could always be relied upon to provide a mini-masterpiece. There was no need to see her to be aware of her facial expressions. They were present in her voice. You can still see them now, listening to her recordings. Even if you’ve never seen a filmed moment, her smile can be heard. Likewise her frown. When she rolls her eyes, it is there in her voice. Her expressive vocal gestures are far more French and much more seductive than her Philadelphia upbringing would lead us to expect.”[citation needed] OperaUnlike Nelson Eddy, who came from grand opera to film, MacDonald in the 1940s yearned to reinvent herself in grand opera. She began training for this goal with Lotte Lehman, one of the leading opera divas of the day. “When Jeanette MacDonald approached me for coaching lessons,” wrote famous diva Lotte Lehmann, “I was really curious how a glamorous movie star, certainly spoiled by the adoration of a limitless world, would be able to devote herself to another, a higher level of art. I had the surprise of my life. There couldn’t have been a more diligent, a more serious, a more pliable person than Jeanette. The lessons which I had started with a kind of suspicious curiosity, turned out to be sheer delight for me. She studied Marguerite with me—and lieder. These were the ones which astounded me most. I am quite sure that Jeanette would have developed into a serious and successful lieder singer if time would have allowed it.” (Sweethearts, page 329) MacDonald made her opera debut singing Juliette in Roméo et Juliette in Montreal at His Majesty's Theatre (5/8 & 5/10/43), quickly repeating the role in Ottawa and Toronto. Her American debut with the Chicago Lyric Opera (11/4/44, repeated 11/11 and 11/15) was in the same role. She also sang Marguerite in Faust with the Chicago Lyric Opera. In November 1945, she did two more performances of Roméo et Juliette and one of Faust in Chicago, and two Fausts for the Cincinnati opera. On December 12 1951, she did one performance of Faust with the Philadelphia Grand Opera (Academy of Music}. Claudia Cassidy, A well-known critic from Chicago, wrote in the Chicago Tribune: “Her Juliet [sic] is breathtakingly beautiful to the eye and dulcet to the ear." (Sweethearts, page 330). The same critic reviewed Faust: "From where I sit at the opera, Jeanette MacDonald has turned out to be one of the welcome surprises of the season...her Marguerite was better than her Juliet...beautifully sung with purity of line and tone, a good trill, and a Gallic inflection that understood Gounod's phrasing....You felt if Faust must sell his soul to the devil, at least this time he got his money's worth." (Nelson Eddy: The Opera Years, page 177) Radio & TVMacDonald's extensive radio career may have begun on a radio broadcast of the Publix Hour, 9/28/29. She was on the Academy Awards ceremony broadcast in 1931. She hosted her own radio show, Vicks Open House, from September 1937 to March 1938, for which she received $5,000 a week. However, the time demands of doing a weekly live radio show while filming, touring in concerts and making records proved enormously difficult, and after fainting on-air during one show, she decided not to renew her radio contract with Vicks at the end of the 26-week season. Thereafter, she stuck to guest appearances. MacDonald appeared in condensed radio versions of many of her films on programs like Cecil B. DeMille's Lux Radio Theater, usually with Nelson Eddy, and the Railroad Hour which starred Gordon MacRae. These included The Merry Widow, Naughty Marietta, Rose Marie, Maytime, Sweethearts, Bitter Sweet, Smilin' Through, and The Sun Comes Up, plus other operettas and musicals like Victor Herbert's Mlle Modiste, Irene, The Student Prince, Tonight or Never with Melvyn Douglas, A Song for Clotilda, The Gift of the Magi, and Apple Blossoms. Other radio shows included The Prudential Family Hour, Screen Guild Playhouse and The Voice of Firestone which featured the top opera and concert singers of the time. In 1953, MacDonald sang "The National Anthem" at the inauguration of President Eisenhower, which was broadcast on both radio and TV. MacDonald sang frequently with Nelson Eddy during the mid 1940s on several Lux Radio Theater and The Screen Guild Theater productions of their films together. She also appeared as his guest several times on his various radio shows such as The Electric Hour and The Kraft Music Hall. He was also a surprise guest when she hosted a war bonds program called Guest Star, and they sang on other WWII victory shows together. The majority of her radio work in the mid to late 1940s was with Eddy. Her 1948 Hollywood Bowl concert was also broadcast over the air, in which she used Eddy's longtime accompanist, Theodore Paxson. MacDonald appeared on early TV, most frequently as a singing guest star. She sang on The Voice of Firestone on 11/13/50. On 11/12/52, she was the subject of Ralph Edwards' This Is Your Life. Nelson Eddy appeared as a voice from her past, singing the song he sang at her wedding to Gene Raymond. His surprise appearance brought her to tears. On 2/2/56, she starred in Prima Donna, a TV pilot for her own series, written for her by her husband, Gene Raymond. The initial show featured guest stars Leo Durocher and Larraine Day, but it failed to find a slot. On Playhouse 90 (3/28/57), she played Charley's real aunt to Art Carney's impersonation in "Charley’s Aunt." War WorkAfter the United States entered World War II in December 1941, MacDonald continued to sing in concerts and on radio, and much of her time was devoted to war work. She was one of the founders of the Women’s Voluntary Services and was active with the Army Emergency Relief. She raised over $100,000 for them with benefit concerts throughout the country in the fall of 1943, for which FDR awarded her a medal. She did extensive free concerts for the military through the U.S.O, and after each of her regular “civilian” concert, she would auction off encores and donated the money to wartime charities. She was surprised to find that the song she was most often asked to sing was “Ave Maria.” When she was home in Hollywood, she held open house at her home, Twin Gables, on Sunday afternoons for G.I.s. On one occasion, at the request of Lt. Ronald Reagan, she was singing for a large group of men in San Francisco who were due to ship out to the fierce fighting in the South Pacific. She closed with “The Battle Hymn of the Republic,” and 20,000 voices spontaneously joined in. Musical TheatreIn the mid-1950s, MacDonald toured in summer stock productions of Bitter Sweet and The King and I. She opened in Bitter Sweet at the Iroquois Amphitheater, Louisville, Kentucky, on July 19 1954. Her production of The King and I opened August 20 1956 at the Starlight Theatre (Kansas City). While performing there, she collapsed. Officially it was heat prostration but in fact it was a heart seizure. She began limiting her appearances and a reprisal of Bitter Sweet in 1959 was her last professional appearance. MacDonald and her husband, Gene Raymond, toured in Ferenc Molnár's The Guardsman. The production opened at the Erlanger Theater, Buffalo, New York on January 25 1951 and played in 23 northeastern and midwestern cities until June 2 1951. Due to lackluster response, the leading role of “The Actress” was changed to “The Singer” to allow MacDonald to add some songs. While this pleased her fans, the show still closed before reaching Broadway. MacDonald also made a few nightclub appearances. She sang and danced at the Sands and the Sahara in Las Vegas in 1953, the Coconut Grove in Los Angeles in 1954, and again at the Sahara in 1957, but she never felt entirely comfortable in the smoky atmosphere. MarriageOn June 16 1937, Jeanette MacDonald married blond film actor (and Nelson Eddy lookalike) Gene Raymond in a traditional ceremony at Wilshire Methodist Church in Los Angeles. Her bridesmaids included Ginger Rogers and Fay Wray. Raymond was also a songwriter, and MacDonald introduced two of his songs in her concerts. In addition to the TV pilot "Prima Donna" that Raymond wrote for her, they also did a few radio shows together and toured in The Guardsman on stage. The couple showed off their New York residence in a live TV interview on Edward R. Murrow’s Person to Person (10/3/58). But even with their infrequent attempts to work together, including the film Smilin' Though, the public was indifferent to them as a team as evidenced by only fair box office receipts. According to published books including Sweethearts by Sharon Rich and The Golden Girls Of MGM by Jane Ellen Wayne, Gene Raymond engaged in numerous affairs with men and their marriage was problematic. MacDonald addressed this issue in her unpublished autobiography (now published in a facsimile edition; see Controversy section). Gene's fans have always disputed these claims. DeathMacDonald suffered in her later years with heart trouble. She worsened in 1963 and underwent an arterial transplant at Methodist Hospital in Houston, Texas. Nelson Eddy, in Australia on a nightclub tour, pleaded illness and returned to the States at word of MacDonald's surgery. After the operation she developed pleurisy and was hospitalized for two-and-a-half months. Her friends kept the news from the press until just before her release. Her large home was sold and she moved into a Los Angeles apartment that would not require so much of her energies. Gene Raymond had the adjoining apartment. She was again stricken in 1964. Nelson Eddy was with her when she was admitted to UCLA Medical Center, where on Christmas Eve she was operated on for abdominal adhesions. She was able to go home for New Year’s, but in mid-January husband Raymond flew her back to Houston. It was hoped that pioneer heart surgeon Dr. Michael DeBakey, who had recently operated successfully on the Duke of Windsor, could perform the same miracle for her. She checked in on January 12, and a program of intravenous feedings was begun to build her up for possible surgery. MacDonald died two days later on January 14, at 4:32 pm, with her husband at her bedside. Jeanette Anna MacDonald was interred on January 18 1965 in a crypt at Forest Lawn Memorial Park in Glendale, California. Nelson Eddy, who told Jack Parr on "The Tonight Show" that "I love her," broke down when interviewed by the press the evening of her death. He survived MacDonald by two years. A decade after MacDonald's death in 1965, Gene Raymond remarried. His second wife, a Canadian heiress, was the former Mrs. Bentley Hees. Her first name was, coincidentally, Nelson. "Nels," as she was called, died in 1995. Gene followed her on May 3 1998 and was laid to rest next to Jeanette MacDonald at Forest Lawn, Glendale, California. ControversyA controversy exists concerning the private lives of Jeanette MacDonald and Nelson Eddy. In the biography Sweethearts by Sharon Rich (revised edition, 2001), ISBN 0-9711998-1-7, the author presents the two stars as having a lengthy off-screen relationship that began before MacDonald dated Gene Raymond and lasted, with a few breaks, until her death. Rich was a close friend of MacDonald's older sister, actress Blossom Rock. Another biography, "Hollywood Diva" by Edward Baron Turk (1998 hardback;2000, paper edition), ISBN 0-520-21202-9 (hardback), ISBN 0-520-22539/533 (paper), denies there was any such affair. An erroneous rumor has been floated that "Hollywood Diva" is an "authorized" biography. Turk states that this was not the case, that he was the only MacDonald biographer to have interviewed Gene Raymond at length; but that neither Raymond nor anyone else vetted the book. In MacDonald's autobiography (the 1960 typewritten manuscript published as a facsimile edition in 2004), ISBN 0-9711998-8-4, MacDonald writes: "I remember seeing Nelson for the first time and thinking he fulfilled most of my requirements in a man." (page 260) She later mentions an "attraction Nelson and I might have had for each other" prior to marrying Raymond (page 267) and also devotes several pages to marital problems immediately after her honeymoon (pages 337-99, 344) and again in the post-war years (pages 400, 412-22, 428, 431-33). EpilogueAn editorial tribute to MacDonald in the San Diego Evening Tribune perhaps said it best: “Songs like ‘Rose Marie’ and ‘Indian Love Call’ espoused no great causes. There was no profound social, economic or political significance to be extracted from Maytime or Sweethearts. That was part of their appeal. They simply hinted that love and beauty and honor, however ethereal, had value and meaning...and that anyone could, for a moment at least, taste something of the ‘Sweet Mystery of Life.’” References
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