:25:02
She also had a voice of crystal clarity
and incredible range.
:25:22
I could not stand these Cs
above the high Cs.
:25:26
It was a pain in the ear for me,
but it was a great piece of art.
:25:32
It made her famous, and she
was the only one who could do it.
:25:35
Five years in Hollywood without
a starring role, it was a dream come true
:25:39
when she was selected to play Christine
opposite Jeanette MacDonald's co-star,
:25:44
baritone Nelson Eddy.
:25:46
Nelson was thrilled about the prospect,
:25:48
until Arthur Lubin told him
he would have to die his blond hair.
:25:53
He accepted the role only when Jack
Pierce developed a special black hair dye
:25:57
that would wash out each night.
:26:00
Think we can get through this crowd?
:26:02
Certainly. After all, who'd pay any
attention to a baritone and a detective?
:26:05
He saw what Arthur Lubin could do,
and in this very dramatic picture,
:26:10
he combined a comedy interest
between the two leading men,
:26:14
between Nelson Eddy and Edgar Barrier.
:26:16
And those little scenes that he did,
where he was injecting comedy,
:26:21
made a great deal of this picture.
:26:24
- After you, monsieur.
- After you, monsieur.
:26:30
Lubin had the challenge
of his first Technicolor production.
:26:33
The Technicolor process as it was,
the three-strip process in those days,
:26:37
involved a special camera which
had three strips of film in register,
:26:43
two in bipack and one
at right angles, and a beam splitter,
:26:46
so you were recording
each of the primary colours.
:26:49
But you used
a tremendous amount of light
:26:53
to be able to really get
a good exposure on this,
:26:56
on these three films
that ran through the camera.
:26:59
The lighting,
it was very hot on the set,