The Czarina

So I found this score in the JAM Project loot, it’s 23 pages long and, obviously, it’s what we know as “Czaritza” from Maytime. As with most of Jeanette’s personal music, it’s stamped with her blue name stamp, but unlike other pieces we have, this one doesn’t have any of her “work” on the inside. No writing, no breath marks, no evidence of being worked over with Grace, so I’m assuming this was a backup copy. Nevertheless, a cool find.

In reading the score, I have learned more about the Czaritza opera story itself (particularly apt in some of the art-imitating-life stuff that seemed to be a running theme with Maytime), which I think you will find interesting:
The Czarina is newly widowed. The Czar was murdered, and she’s being given a hard time because she isn’t sorry that he is dead. He was an evil, cruel man, a terrible ruler and she didn’t love him. This is part of the beginning, sung by her: “No shadow in my heart enshrouds the lordly but unloved departed one, God forgive me! Dead! May the thief who stole his life ever live! Oh, wicked wife, have you no sorrow? How black of soul you are. Your love betrays your Czar!”
So they caught the guy who killed the Czar and they bring him on in. Turns out it’s Petroff, with whom our sinful Czarina has been having a big fat steamy love affair (Welp. Hot Petroffs are hot, leave her alone.). She pleads with him to lie and say he didn’t do it. He argues that he did it to set Russia free from his tyranny…and also a little bit for Mr. Czar’s hot wife. He’s at peace about the whole thing “I lose but a life, and a nation is free”, the worst part is leaving Hotpants Czarina. She wishes she was going to be the one to die. She then tells everybody to get out, she wants a word with him. The Captain protests, “Your Majesty!”
Queenie gets real tall and corrects him: “Your Czar!” (That’s one of my favorite moments in the whole thing, not that anyone asked.)
So the minions beat it and we get to the duet and they sing powerful, powerful stuff:
How memory clings, my beloved, to dreams of yore
O, pitiless fate that our meeting means parting at death’s very door
There is no parting!
There is no ending!
Your heart is blended with mine
What fear you, I shall be near you, ever attending
Oh, beloved, my heart will not fail
There is no lasting farewell
Ever these vows shall prevail
Whether in Heaven or Hell
I love you
*
Heart! Beat with joy, for ecstasy is yours
Love alone endures
Love alone is yours, and it’s mine
Love is mine, O love is mine forever
O Soul! Soul! Sing a new refrain!
Dear one, oh! Hold me close
Beloved, Beloved!
Two wildly beating hearts are one
And now death [Petroff sings ‘Give me death’]
Do what you will!
Our love will live beyond the deepest grave
We face you bravely
O Father of us all, His/My time has come, dear God!
Petroff: God be with you, Heaven keep my dearest one from harm and care
Czarina: Heaven rest the soul of my beloved one, Lord, hear the pray’r of my heart
Lord, hear my pray’r
Petroff: Dear one, I go to die, God be with you
Both: Love, goodbye
Anyone else around here completely cooked? Holy mackerel. Seems legit that he’d actually shed tears while singing this with his complicated lady love who is resolutely going to marry somebody else because she’s convinced that there are too many problems with the two of them, no matter how crazy they are about each other. The situation was just so hopeless. I mean, I get why she didn’t marry him then. I really do. I wouldn’t have married him either, in the thirties. But gosh, it’s just all so heartbreaking. And by the time he’d become marriage material, it was too late and too hopelessly muddled for all concerned and yeah, there were great moments, but the whole thing ended in devastation for everyone.
*screenshot of Nelson’s tear obtained by Kitty.
The infinite rightness of those two gorgeous beings in each other’s arms is just kiiiiiinda staggering. Look at ’em.
Oh! And here’s a bonus!Mac. Being really, really extra cute on the set. This photo is from her personal collection and was tucked into one of her embossed still boxes. ❤
She’s just sittin’ there on the floor in her Czarina suit hopin’ something happens soon.

A Thing of Beauty is a Joy Forever

I come to you with another Very Great Thing from The JAM Project!

Imagine my delight when I was going through the collection of film and found something we didn’t even know existed! The discovery was a 1955 screen test that Jeanette did for NBC. There is no date, other than 1955, on the box, but it is labeled in Jeanette’s handwriting, so that’s super fun as well. My assumption is that this is some sort of test for Prima Donna, which aired February 1, 1956; an episode of Screen Directors Playhouse that was written (real awkwardly) by Gene Raymond. NBC aired Screen Directors Playhouse, so this checks out on that level. I could certainly be wrong, but this came to us with no context and I’ve never read anything else about it — had never heard of it before it was in my hands. If someone knows something that I don’t about the purpose for this screen test, I’d be happy to learn about it.

The screen test is silent and in black and white, which is funny because Jeanette wrote on the box “Color Test B&W” ……….thank you for that, Miss MacDonald. ‘Preciate ya.

Maybe it was shot in color and they gave her a black and white version of it? Eh? Anyway, we have the black and white one that belonged to her.

Guys, she is SO GORGEOUS. So, so, so, so incandescently beautiful at age fifty-two. This, this is a star. Also, I LOVE her hair. Love it. I’ve done my best lip-reading and made a transcript, which I will include below (which is certainly not infallible, of course, but she’s chattering away in typical MacFashion, so it’s only natural to want to translate). It’s not perfect, but it does, I think, get across the jist of what she’s saying.

Enjoy her. ❤

Here is my rough transcript of what she’s saying:

:07 Okay gentlemen – are you looking at me? Am I pretty? …Come on. [THIS IS MY FAVORITE PART. YES. YOU ARE PRETTY. YOU ARE SO PRETTY. YOU ARE THE PRETTIEST ONE. WHAT IS AIR.]

:17 Ah and go to this side – see what happens

:25 Oh, you want me to look like this … sad … alright.

:33 There, is that so good? That’s good.

:40 Way up here…

:45 Alright (smiling)

:48 Oh no, that wouldn’t be good. (adjusting fur and looking down) There. This is as far down as I go.

1:02 Really? That’s good. Well that’s what I [don’t know this part] to.

1:13 Yeah.

1:14 Well if you’re ready, this is a fast [don’t know this word], he said. But anyway when I’m looking into the camera – that side – [there’s a phrase here that I haven’t got yet] But I always want to look straight to the audience (gesturing) which would be there. Then the [one word I don’t have] there…see?

1:35 Oh now with my singing which would usually be up there, you see – or there

1:59 [I’ve got nothing. Working on it. She’s cute.]

2:02 Now, for every second afterwards I’m singing to the camera because I think that [something about the audience and being selfish]. So… [don’t know the last phrase].

Ohhhhhhhh, Jeanette. ❤ ❤ ❤ ❤ ❤

I want to conclude by thanking everyone who has helped to make these digital transfers possible. This is an expensive process and you are directly responsible for helping us accomplish the goal of sharing these treasures. I’d specifically like to thank Di, Annette, Margaret, Leslie, Brenda, Sandra, Melissa, Tracy, Christy and Philip. I hope I am not leaving anyone out!! Your support is so appreciated by the The JAM Project!

His Madonna

Recently, interesting new documentation has come to light in the form of an unpublished manuscript that Nelson Eddy wrote and titled A Will of Evil. The manuscript was entrusted to a woman named Linda, who knew Nelson in his last years. It is not outstanding prose (and certainly not Nelson’s best writing, by a country mile) but it provides interesting insight into where his head was in his last years, with compelling parallels drawn to many things that occurred in his real life relationship with Jeanette. The book is available on maceddy.com as well as Amazon. Angela and I helped Sharon edit her introductory comments — and that, for the time being, anyway, is where my remarks end.

Most compellingly for the ongoing story of Jeanette and Nelson, however, is a colored pencil drawing that Nelson did of Jeanette that also ended up in Linda’s possession. It has been published inside the book as well as a smaller version the back cover, so it could be seen in color, and very recently, Sharon published it on maceddy.com as well. Her post is available at this link.

The drawing is exquisite. It’s intimate, it’s serene; it’s absolutely beautiful. He’s not just drawing a picture of someone, he’s lovingly rendering this woman who is dearly known to him.  And it’s not a posed “draw me like one of your French girls” situation, either; her hair is wet and water droplets are dripping down her back, as though she has just stepped out of the shower. More intimacy. This is not glamorous, this is everyday real life. Her body is accurate to the last detail; the tiny wrists, the tall expanse of chest, the way her face looks without makeup…I mean, wow. The love that went into this work is leaping off the page. And look at the knowing, secretive serenity on her face, and the way he highlighted her abdomen. Nelson titled this work My Madonna…is she, perhaps, newly pregnant here? Was that the reason for the drawing? You can see his title on the left edge, along with his NE signature.

For those of you who still “need to see concrete proof” that these people were involved…….welp. Here ya go.

For those of you who still contend that this story is made up, just screw off, really. Get some new lines.

Thanks to those involved in getting this published. It’s important.

I elected, as Sharon did, to put the drawing behind a link rather than pasting it into the body of a blog post. The historical significance of this piece of ironclad, “smoking gun” evidence cannot be denied and the reverence with which this gorgeous work of art was created is totally obvious, but even so, it’s a nude.

Nelson’s drawing of his Madonna can be viewed by clicking right here.

 

 

From The Golden Comet…

golden-comet

From the Golden Comet, Spring Issue, 1945, when Marie Waddy (later Gerdes) was President. The good ol’ days, as it were.

Amazing.

They used to put Nelson on the cover of the Comets with her, too.

Gasp.

They sure did kiss each other a lot, is all.  Not that that means anything, of course. Totally normal to have a married man friend walk your married self to your car, chat a while, put his arms around you and kiss you before you leave. Yep.

Love them!

Sweetheart, Sweetheart, Sweetheart…

Where do I begin?

Do I start by saying this is one of the Big Things that I so often mention on this blog as going on behind the scenes? Because that’s true; this is one of those things. One of those things that months of stress and organization and strategizing with three fabulous partners accomplished. The JAM Project was formed, by us—that’s Angela and me and our dear friends Mary Lynn and Lynda, to take care of what’s left of Jeanette’s estate, plus the remaining holdings of the JMIFC. We have it. There. Secret’s out. Now you know, officially.

There is so much to say; so many, many directions in which to go. There are falsehoods to correct and new truths to bring to the fore. There will be time for all of it, eventually. These months have been heartbreaking and euphoric at once; the victories have been outstanding but the fresh devastation of just how complicated and difficult this good woman’s life was has been incredibly painful. We’ve only just scratched the surface of the material in our possession and already our minds are blown.

Today, though, I want to focus on one of the victories.

On September 25, 1957, Jeanette and Nelson teamed up for what would be their second and final television appearance together. The show was The Big Record, hosted by Patti Page. This show has long been considered MacEddy Holy Grail. It’s been lost for decades, squirreled away by the Co-Presidents of the JMIFC. Reports from people who saw it, long ago, are consistent in that they all indicate the obvious closeness between the two stars. Our assumption has been that that’s why the JMIFC hid it; Jeanette and Nelson just looked too damned cozy. They used to show it at the ClanClave meetings, but that friendly trend came to a screeching halt when a young Sharon Rich started writing about Jeanette and Nelson’s real-life relationship. And people who had known them started talking to her – and these previously-embraced-club-members were quickly disavowed and labeled pathological liars. We have those letters, too. Life’s grand. Anyway, the JMIFC war on Nelson Eddy was on. The censorship and “editing” done by Clara Rhoades to strip Nelson of any virtue at all and remove him as much as possible from Jeanette’s professional and personal lives is alive and well to this day in the club’s filing cabinets. It was as though suddenly Nelson was Voldemort – and to complete this imagery and bring it back to the topic at hand, The Big Record is a Horcrux. (For you non-Harry Potter folks, a Horcrux is an object in which a Dark Wizard has hidden a portion of his soul for the purpose of attaining immortality. “This is actually a perfect analogy,” she says, self-congratulating.)

[Weeellll…Clara and Tessa obviously didn’t read the books because they never did destroy the Horcrux; they just hid it. So now…mwahahahahaha, WE RISE.]

So for years, long before I came on the scene, far longer than I’ve been alive, The Big Record was lost. I know Sharon had looked for it. Angela and I have combed universities and other important libraries to no avail. We’ve tried the CBS archive and got nothing. There were, by our reckoning, two copies left in the world – Jeanette’s, and the one Patti Page herself had.

Welp.

The very moment I was turned loose among the trunks and trunks of cans of film in this collection, I had only one title in mind – and then, there it was. But it wasn’t Jeanette’s. This was in a green plastic film can and it was labeled, “Good Condition, 5/71,” and there wasn’t a ton of film in it. So the piece we have as of this writing was made from Jeanette’s copy—and God only knows where that is. We don’t have the whole show. We don’t even have most of it. Sharon released the audio track on a CD on maceddy.com that is their big segment: Jeanette sings Italian Street Song, Nelson sings Out of the Night, and they chat with Patti Page and then do a duet of Ah, Sweet Mystery of Life as well as a small medley of other tunes from Naughty Marietta. We don’t have any of that.

Jeanette did a portion of the show in her white and lavender concert dress that she wore a lot in this time period. Here, she and Nelson are talking to Patti Page:

bigrecordpattipage

This is what the dress looked like in color:

1957julyconcert

Anyway, it seems that after this segment, she went offstage and changed gowns, because there are photographs of her with Nelson that are supposed to be from the same show, but she’s wearing the pink strapless dress and pearls that everyone will recognize from the cover of their Favorites in Hi-Fi album.

bigrecordend

This, friends, is what we’ve got. Jeanette in her pink strapless, singing Will You Remember with her Nelson. Two minutes of these incandescently beautiful people making magic together as only they can. We found a guy in Arizona to transfer the film to digital media. He cleaned and restored and color-corrected it. He removed as much of the graininess as possible while keeping the integrity of the film intact and he stabilized the jumpiness. Due to the age and questionable storage practices for all these years, the sound is a little warped in spots—trust and believe it’s not Jeanette and Nelson hitting bad notes! While unfortunate, we assume everyone will have no problem overlooking it.

Physically they have aged, but somehow they are utterly, gorgeously unchanged since the 1930s. Their radiant joy in performing together is palpable. They are doing what they love to do, with the person with whom they love to do it. Nelson’s enormous, boyish pride in the woman he loves is leaping off the screen. Jeanette’s energy and ecstasy at being in his arms is unmatched in what we’ve seen of her other work from this decade. (Also, I have to feel like this is the end of the show, because the MacDonald Nerves are absolutely nowhere to be found.) They are two halves of a whole, blissfully united and we get to watch. They are on national television, but you get the sense that their audience has nothing to do with it; these people are performing to and for each other and that’s it. We are watching something very private happen very publicly, just as we did for eight films. This quality that is theirs alone is what drew people to them and kept them begging for more. They have incredible voices, but the truly mesmerizing thing about them is that they are every bit as emotionally effective with no sound.

It is with enormous delight that we share this with all of you. So many of us on the Jeanette and Nelson story spend hundreds of tireless hours researching and digging and discussing the ins and outs and ups and downs of their lives, but in moments like these, we can all just step back, secure in the knowledge that these people tell their own story so much better than we ever could. All they need is a platform. I know I can speak for the four of us of The JAM Project when I say that it is an honor and privilege to be able to give them that very thing, sixty years after the fact.

…Aren’t you glad I didn’t spoil that really great surprise at the end???????

I think it’s pretty clear why this hasn’t been made available before now. 😀 😀 😀

What follows is a blow-by-blow of everything that has killed me about this two minutes of wonder in the six hundred times I’ve watched it so far. Don’t read this until you watch the video.

Okay, we can start with the first twelve seconds. Nelson, with purposeful stride, crossing the stage to get his girl and leading her back into position for their song. His face is just absolutely more than I can handle. He is beaming, he’s into it, he’s excited, he’s happy. Nelson’s performance in this two-minute clip completely annihilates his entire career with Gale Sherwood. What I mean by that is that, in all of the available material of him performing with Gale, I personally have never seen this level of sincerity, of realness, with her. Or with anyone else, for that matter. This is his girl. Has been his girl for twenty-some years, now. Will always be his girl. He’s being allowed to adore her in public and he’s enjoying that to the full. Jeanette, in observance of his intent, gives him the first of many humongous grins as she reaches her hand into his, her eyes on his as they move back across the stage. His face when he’s walking backwards is precious. The man is in heaven. He breaks their eye contact to look her up and down, as if he’s never seen her before. Is he, perhaps, admiring the wardrobe change? Cause that’s real cute, if he is. Jeanette will, always and forever, be his favorite dish. “I know her,” he said once, “And what she is to me can never be marred by age.” He makes that very clear and they haven’t even opened their mouths yet. Jeanette, for her part, has the first of many self-conscious moments in this segment, looking down after staring into Nelson’s face for a few seconds. I imagine that’s like looking directly into the sun. He’s so intense that it’s overwhelming for her and she’s the first one to break contact—this is a pattern we see over and over again with these people. Is she afraid she’ll give too much away if she keeps looking? Does she know too well the effect he has on her? She always did have a sense of reserve, that way. That’s why her tears on This is Your Life are so compelling. You expect her to be in control.

Jeanette takes the first line of the song. As she’s singing, her free hand comes out, slowly and naturally. And Nelson looks down at it before clasping it in his. These people are adorable. (This is one of the places where the sound is warped, I assure you homegirl knows her notes.) During the “Will you love me ever?” line, Nelson’s face moves very slightly – this is at about second 23 or 24. Something about his face, which we can’t see, makes Jeanette hand over the second humongous grin as she sings the word “ever”. I wonder if he didn’t wink at her, or something. She’s looking into his eyes and her face reacts. Good Lord.

Nelson takes the second line, and now we’re looking at his face and Jeanette’s back. He draws both of her hands up between their chests, covering them with his for just a moment, then seems to have a change of heart and wraps his arm around her instead. What I didn’t notice until I’d reviewed this several times, is if you watch her arm, her arm wraps around him in response to his arm wrapping around her. We catch Jeanette being very Hollywood for a moment, gazing off into the distance, but when they sing “my dearest one” together, his eyes seek hers and hers snap back to them. At the end of “one”, Nelson starts to smile at her but has to draw breath for the next line. Jeanette continues gazing up at him on the first “Sweetheart, Sweetheart,” really drinking him in, standing there looking like an open vessel into which he is pouring this well-worn song. She’s receptive, she somehow still, all these years later, isn’t the least bit tired of this. Not even a little. (Well okay Jesus H. Roosevelt Christ look how the man is looking at her I don’t think I’d be tired of that either.) On the third “Sweetheart,” we get the third big smile, which is immediately followed by her opening her hand and laying it on his chest, another signature MacEddy move.

“Though our paths may sever” contains some abject tenderness. Nelson once again wants to put his arm around her, so he does, and she responds with her arm in the same way. He pulls her in close and his chin finds its way into her hair. There’s a tiny moment where his eyes close as they settle into that position (albeit briefly). However, the best part about this is when Nelson’s chin goes into her hair, her chin makes a tiny snuggling motion. These people love to be close to each other. They love to be touching. We’ve known that for so long from the way they are on film and in candid shots on the radio and at parties and things through the years, but it’s so much more fun to get to watch it in action. Nelson is at his nurturing, tender best with her and she loves it. She always was like that, thriving on affection. However, they can’t stay that way for long, because there’s another couple of lines to sing.

On “to life’s last faint ember” we see their hands – her right and his left – rejoining and getting back into position between them. I’d really love to know what’s so delightful about “faint ember” because these two find something on those words about which they exchange a really darling mutual smile. And I love what happens next. Right as they start the “will you remember” line, Nelson gives their joined hands a little shake, it’s kind of like he gets a better grip on hers. It’s like a little jolt of underscoring.

As they sing “springtime,” they share another little mutual smile. Nelson almost seems to be the one to push them to their next positions, pulled back from each other, still holding hands. These two wrote the book on how to sing in duet. He’s still looking at her like he’d enjoy having her for lunch, and on “lovetime” we see him give her the up and down once over for the second time in two minutes, looking extremely pleased with what he’s seeing. They break apart with one hand to fan out to the audience on “May” and Jeanette almost loses her scarf on one arm, but a quick flip of her hand fixes that. At the end of their long note, you see Nelson do a little cutoff jerk on her hand, as if he’s feeling the end of their song.

Then comes the good part. (What? This is ALL ‘the good part’!!!) Nelson immediately pushes her scarf up off of her hand so he can kiss it – and it’s not a wee little peck, either. His intensity and courtliness makes her laugh a sweet, self-conscious, grinning laugh, from which she dissolves into her ever-graceful curtsy. She curtsies just great. So pretty. She murmurs a ‘thank you’ to the audience and Nelson jiggles her hand like we’ve seen him do before. He does that with her. When she stands up, he passes the hand he’s holding to his other hand (he ain’t about to let go of her!) and puts his arm around her waist, and they swoop in facing each other and the first time I watched this my heart leapt into my throat because I was thinking, “Holy crap, he’s gonna kiss her!” But nah, they apparently remembered themselves at the last minute and settle for beaming at the still-applauding audience, with Nelson giving her another little jiggle, during which her two little hands come up and wrap around his big one.

And then it happens. It’s as natural as breathing. Jeanette MacDonald looks at Nelson Eddy and puckers her lips. It doesn’t look the least bit pre-meditated. It looks like something she’s used to doing. A reflex. A habit. I don’t know what on earth she was thinking, except maybe in the moment, she wasn’t thinking. It seriously kind of looks like she didn’t mean to do it, like she forgot herself in this private-public moment. That’s much rarer for her than it is for him, which makes this five million times more valuable. She wants a kiss. She wants this man to kiss her. She tells him – and us – very clearly. Right there in front of God and everybody. And then, Nelson, bless him—you give the boy an inch and he takes a mile—Nelson loses NO TIME in taking her up on her offer and zooming his mouth into hers, right onto his very favorite bottom lip, which appears to both delight her and scare her to death and she manages to play it off by shaking her finger at him and making some flustered gesture which we must assume is meant to tell him that he’ll mess up her makeup if he kisses her. Too bad he already did. And then she dissolves into schoolgirl-esque giggles and we see the textbook flustered MacDonald Hand to Throat while Nelson exuberantly pats her back, looking really pleased with himself. I MEAN, DAMN. G’HEAD, GUYS. YOU DO IT. YOU JUST DO IT.

brkiss

Excitement aside, this kiss is a very interesting look at the same dynamics that have been in play here for twenty years. So often, Jeanette has to assume the role of the “adult” in the relationship because Nelson won’t. We’ve read of Nelson, on a radio show with a studio audience, wanting to kiss her in front of the curtain. That was in the 40s and this is identical behavior in the next decade. Jeanette simply has more reserve than Nelson, especially where ‘going public’ with their relationship is concerned. That’s why it’s so utterly, fabulously compelling that she is the one who initiates the kiss. It would have been exciting but not surprising if it had been Nelson. To have it be her is something else again. Still and all, you can see her go on immediate retreat when his mouth touches hers. Jeanette, as I’ve written about before, was a rule-follower by nature. She was not deceitful, she was not dishonest, she was not a cheat. That’s why she cared so much what Mayer thought, folks. Whether she could or could not do what she wanted in the face of her boss is totally beside the point. To say that Mayer wouldn’t “let” her do something is over-simplifying the situation. Jeanette’s conscience dictated that she toe the line. It is not in her nature to have an affair. It just isn’t. That’s why this is so complicated. Twenty-some years into her relationship with Nelson and marriage to Gene Raymond, she still isn’t the affair type. The situation is hopelessly compounded by the fact that there is no earthly way she can quit Nelson. Their bodies and eyes and betray them with regularity, but this kiss comes dangerously close to crossing a line in this public space. Jeanette cares what people think and what they say. Nelson doesn’t. Kissing him in an unscripted way on this national stage is outside the limits of her personal propriety. It’s one thing to do it, it’s a whole other thing to do it and have everybody know. This situation is, yet again, a dichotomy. Her playful, affectionate nature would love a kiss (she initiated it, can I just repeat that here?!) but her sense of guilt will not allow her to go with it.

Another thing it’s important to note here is that this television appearance happened shortly before the meeting Jeanette orchestrated in a New York attorney’s office with all four spouses present. The topic of this pow-wow was two divorces. Gene and Ann were agreeable, but when Nelson was struck by how severely he’d be taken to the cleaners, he balked and that was the end of that, causing another serious rift between them in 1958. But what you’re seeing here is two people who, yet again, have marriage on their minds. Sunny Griffin said, in his videotaped interview with Sharon Rich, that they discussed getting married all the time (this was in the fifties); marriage was something in which they were both interested. The mid-fifties were a really good period for them as a couple, with a lot of time spent together in New York. By the time they did The Big Record they were in such a good place personally that Jeanette was working behind the scenes to arrange for Ann and Gene to come to New York and talk turkey. While the outcome of the meeting was not good, what we are seeing is the happiness that prompted the meeting in the first place. It makes sense, when considering this part of the story, that Jeanette’s reserve would be in evidence when Nelson kisses her—why would she want to screw something up in the home stretch? Nelson never did care about that kind of thing, not where she was concerned.

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This is their story. This is the story. These two people and how much they loved each other and the hard-fought reality of that love is the story. The pride on Nelson’s face as he shares the stage with the love of his life has struck me perhaps more deeply than anything else about this longed-for footage. I have yet to see film or photograph that shows Nelson this happy in the last decade of his life. Losing her killed him. He lost everything. Here, he has everything; his girl and his music. His entire world is in his arms. To borrow a phrase coined by Isabel Eddy upon watching her son with Jeanette, he is “beaming like a headlight.” She is there and she is his in front of everyone in these moments. We might as well be back in the café in Maytime, looking at him and his beautiful adorable glamorous glorious radiant indescribable vision of perfected loveliness (shake). It is staggering to consider how strong they were, how they were able to hold onto each other and keep going, somehow. These people buried their child. They lost seven other pregnancies. They’d had a multiple-year breakup and had been unable to survive without each other. They’d made life-ruining decisions and had to live with the torture of the consequences. Life has chewed them up and spit them out and yet, still, they stand on this stage and find tremendous, powerful ecstasy in each other. That’s the story. That’s why we’re here.

Happy Valentine’s Day.

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Dr. Jeanette A. MacDonald

Why hello, yes I’m still here and breathing, much to the chagrin of a few of you, I’m sure. Bite me. 😀 A lot going on behind the scenes here at the ol’ Case for Jeanette and Nelson Blog, and I know I keep SAYING that, and time slips by, but, well, it’s true, what can I say? There are going to be a few important roll-outs in the next few months, there has been a major game-changing move in recent weeks and it won’t be long now before I’ll be able to talk about what has been going on, instead of just being obnoxiously vague. If you think you’re waiting a long time, just think how long Jeanette has been waiting to be free of the most bullshit nonsense fighting ever known to man. It’s coming, J-Mac, keep holding on. #helpisontheway

You know, recently, a very wise friend of mine who is of the Classic Film Circle (though not of the Jeanette Circle) told me that my blog was great but the part that lost her was my rage towards a group of people that “nobody knows”—well, they do if they know the Jeanette story, but they were unfamiliar to her— but her point was that I was wasting a lot of energy being angry at a group of people that I know to be …misguided… to put it kindly. She found that distracting from the research and reporting that has been the crux of my blog, and I can admit that she has a valid point. “You know you’re right, so why spend time putting focus on them?” Her astute observation has stayed with me since she made it. For half my lifetime now, I’ve “grown up” with this in-fighting, so stepping away from it is hard. But, having the absolute certainty that the convictions I hold about these beautiful people are true does fill me with more ability than I’ve ever had to not give a damn.

….That’s an exaggeration, I’m scrappy as hell and if you want to go a few rounds, meet me on Arch Street at sunup.

Anyway, what I wanted to do with this post was share a few sweet photos of that time in 1953 when Jeanette was awarded an honorary Doctor of Music degree from Ithaca. It was the first time the college had ever conferred this honor upon a “movie star” and it pleased Jeanette more than perhaps she thought it would. See, Jeanette was not a good student, and this is a topic about which it is extremely easy for me to get all riled up. This woman was fricking brilliant, guys. She was brilliant. For her to have had such a miserable time in school is inexcusable. The problem was, she was essentially a professional child and as such there were necessary school absences. I used to miss school all the time for horse shows and nobody ever made a big deal about it, but back then, this was frowned upon–and far worse if the reason for the absence was the dreadful, awful THEATRE. Nowadays there are so many options for kids like Jeanette, mostly thanks to the internet, but back then her choices were to either attend regular school or have a private tutor. Her family’s income bracket made that decision. About the time Jeanette was in eighth grade, her principal was a real pain in the ass who was in cahoots with Jeanette’s teacher–these grown women apparently really wanted to bring this child down and teach her an Important Life Lesson about how the theatre is a terrible horrible no good very bad place. So teacher puts a hard math problem on the board, using a concept that had been covered when Jeanette had been absent, calls Jeanette up in front of everyone and proceeds to humiliate her when she can’t do it. She is then bundled off to the principal, who was such a small human being that she was actually lying in wait for this golden opportunity to ruin an adolescent kid’s life, and the bitch proceeds to demote Jeanette a full grade level. “To a proud and sensitive child, this was a devastating blow,” Jeanette wrote many years later, and that really sums it up, huh? Also, she had by this time very nearly reached her full height of 5’5″ (or 5’5 1/2″, depending on which time she’s telling it), so when she was sent back to seventh grade, she was head and shoulders taller than the other kids, which just mortified her more. And thus ended any hope of her having a good relationship with her education. She attended three high schools: West Philadelphia, Washington Irving and Julia Richman. She did not graduate. Looking at her high school records (I’m not sure what I’m holding is complete; I have more digging to do), and remembering that she was a grade below where her age suggests she should be, it looks like she didn’t complete tenth grade. School held no allure for her; she’d missed a lot and nobody seemed interested in helping her, only in making her feel like a dummy. She got A’s in physical education, as well as A’s and B’s in typing and stenography, but most of her grades were in the sixties and seventies. Her Julia Richman report card reflects that she had twenty-five absences in one marking period. There is no way she could learn anything, like that. More importantly, she was working, and the education she felt (possibly correctly, who am I to argue with someone who became a superstar?) she needed was in the theatre: singing, dancing, doing shows, negotiating contracts. She was quickly shifting into her role as the main breadwinner in the family, passing sister Blossom’s pay grade pretty swiftly. A kid that age with that much responsibility on them–well–something has to give. And for her, as for so many many people like her in various trades in this period of history, the sacrifice was school.

Jeanette always had a little bit of a snap in her on this subject. She reported that she never regretted missing college, she “never wanted to go to one” — and I certainly believe that, given her school experience. But I also think that it mattered more to her than she let on. I think that’s the case with a number of Hollywood people from that era. Jeanette loved to read, she was gifted at languages, she was a prodigiously talented musician–and I don’t just mean singer. She was excellent with money; wise about investing it and saving it. I’ve seen letters, now, where she’s telling her lawyer how to lawyer. I’ve seen her back and forth contract negotiations with MGM and she is something else again in terms of knowing her monetary value and making a plan with her attorney to see that she’s paid accordingly. When her manager pissed her off in the forties, she fired him and managed her own damn self. One of my favorite assessments of her is Nelson’s understated, “She’s a smart girl.” He knows. (Also he’s calling her a girl in 1965 can we all just take a moment ’cause that’s cute.)

All that to say that when Ithaca College conferred this degree upon our girl, I think she was really thrilled. Below are some photos and clippings of the occasion–judge for yourself. ❤

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The day before graduation, Jeanette is photographed between President Job of Ithaca College and Theodore McKeldin, Governor of Maryland, who was also being honored.

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Awwwwww.

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Being given a huge bouquet of roses in the middle of the ceremony is not standard operating procedure, as you’ll learn in a minute, but they did it for her. ❤

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Above is a brief write-up of the event, which you should be able to make out through my unfortunate-but-necessary watermarking. Below is a mighty complimentary letter from the VP of Ithaca, adorably addressed to Dr. MacDonald. The letter accompanied the photos in this post when they were mailed to Jeanette.

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And then, finally, is my favorite picture from the entire thing. There has never been a more totally adorable human being than this one. She is just as pleased as she can possibly be—she probably never thought she’d wear a cap and gown, and while she got to do a lot of other things most of us can only dream about, one can also see how this sort of thing would thrill her. Part of her fully embraced where she came from, but I believe, based on what I have read, that she was, somewhere on the inside, very sensitive about the things she felt she lacked in terms of background. What I know about Jeanette is that she took it deeply to heart when she was given tokens of her worth. It’s a dichotomy; the woman who knew damned well what MGM should be paying her also needed -deeply- affirmations like this one. Words of affirmation is her love language. Thank Anna MacDonald for that. Sigh. That’s a whole other blog. At any rate, I can see her really loving this occasion and that’s why I love this photo:

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And if you don’t think this was meaningful to her, consider this point with which I will conclude. Jeanette downsized considerably when she moved from Twin Gables to the Comstock apartment. Many things were given away or put into storage. Yet, after a career of the most amazing kinds of fame and success that no doubt garnered many display-able plaques and photos, prominently displayed on her living room wall is her diploma from Ithaca. She was proud of this.

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Wish You Were Here

On another note, the third installment in my MacEddy Alternate History (fiction) series, Wish You Were Here, was published a week or so ago, and is available on Amazon in both paperback and Kindle formats. Wish You Were Here takes place in 1949 and follows Smilin’ Through and The Message of the Violet. As this is a series, you need to have read those two before you read this one! Several people have finished it already and have been kind enough to respond favorably.

My next fiction project is an as-yet untitled Novella that I hope to have out before Christmas. It will follow in this same timeline, a year after the conclusion of Wish You Were Here.

Here is the link for the new book! https://www.amazon.com/Wish-Were-Here-Kathleen-OHara/dp/1537029630

Happy Reading! ❤