David Ecklein It's Nelson Eddy again, but this time without Jeanette - in an unusual Western musical! "Let Freedom Ring" (1939) is finally available on DVD. It is a patriotic action picture based on the 19th century struggle of farmers against the railroads. History with distant echoes where I grew up in the Midwest, from stories I heard and reflected by novelists such as Frank Norris with "The Octopus" and "the Pit". First was land grabbing by nefarious means as dramatized in the film. Later, of course, came the gaming of freight rates to rob the farmers even further, into the 20th century. See Nelson Eddy lead the charge against Edward Arnold, notorious villain from Wall Street, and his hired thug Victor McLaglen, who exploit the immigrant railroad workers and homestead farmers alike! "Wall Street" is mentioned pejoratively three times; this would never happen in today's ideologically sanitized Hollywood. Otherwise, a wholesome Ben Hecht script with Arson! Fistfights! Gunfire! Noble Nelson in fine voice with codger Lionel Barrymore, comic Charles Butterworth, and comely Virginia Bruce. Plus many others in a star spangled film.

C.K. Dexter Haven He may have written this script in the hopes that it would have been given a more serious treatment by MGM. Instead his rail against internal industrial fascism on the eve of America's entry into WW2 to fight external fascists was turned into a starring vehicle for Nelson Eddy of all people. Hecht must have gone on an extended bender when he heard his story was going to be punctuated by several of Eddy's baritone interludes.Does it all gel? No. It's a bit of shizophrenic curiosity piece to say the least. But Hecht's message resonates now as it did then, and the picture does provide many pleasing moments and is actually quite entertaining to sit through.Eddy is likable and is even believable as a two fisted hero. His scenes with Victor McLaglen, actually beating the hell out of McLaglen in the last act, are a hoot. McLaglen is always a fun ham to watch and here he's playing his usual larger than life Irishman, though more like his turn in the Quiet Man than his lovable appearances as the Sergeant in John Ford's Cavalry trilogy. McLaglen was branded (no doubt unfairly) with the reputation of being a crypto-fascist around the time this came out. This role probably had a lot to do with it.As far as villains go, Edward Arnold played the most menacing corporate/political wolves captured on film in that era. Here he's at it again, playing Dick Cheney to good effect a couple of years before Dick Cheney was even hatched. He also appeared in a very similar role in Mr. Smith Goes to Washington the very same year as this release.This film is uneven, at times unbelievable, and very corny. It lands short of being good but it's still fun, thought provoking (what with the current political climate), and worth seeing.

theowinthrop LET FREEDOM RING is a well intentioned musical comedy about the post-Civil War age of the robber barons. So, who should play a smiling, unscrupulous business tycoon but that most realistic one Edward Arnold - in the year that he also played Boss Jim Taylor in MR. SMITH GOES TO WASHINGTON (and shortly before his fascist minded tycoon in Capra's MEET JOHN DOE). Only his attempt to dominate a small western town that is in the way of his planned railroad somehow comes to the attention of the U.S. Government, who send Nelson Eddy as a special agent to unite the townspeople to confront and defeat the nefarious Arnold. This should tip one off as to this being a Hollywood fantasy. The government in Washington in the 1870s would not only have not bothered sending any agent out to do this, but it would have sent word to Arnold (with palm outstretched) that it was there to assist him in his land grabbing activities. If you doubt me, read Allan Nevins' biography of Stuyvesant Fish, President Grant's Secretary of State - the most honest man in his government. Nevins chronicles the series of scandals that tarnished Grant's two terms, several dealing with railroads.It is a disparate group that Eddy has to bring together. Besides his love interest (Virginia Bruce) there is the Mayor (Guy Kibbee), the local newspaper editor (Raymond Walburn), the railroad's leading bully boy (a misguided one, as it turns out) Victor MacLaghlan, and such strong, firm citizens as Charles Butterworth. Yet, at the end of this cute little film Eddy manages to get the townspeople united against Arnold and his moneyed army. They sing their defiance in Edward's face. Watch the conclusions of this bizaare movie closely. Arnold is not defeated at the end...he justs realizes he has miscalculated in that he picked a route that goes through a town full of lunatics. He shakes his head in bewilderment, picks himself up (probably realizing that the route through some more promising town is better), and leaves. Knowing how smart Edward was, he probably did build his railroad through a better route after all!

rsoonsa Scenarist Ben Hecht's tract to ethnic toleration does not lack the production values and quality of acting necessary for its artistic success. Within the format of a Hollywood-style Western, it is an easy task for Hecht to insert his typical hyperbole in the form of some truly crimson prose directed against big business represented by expanding railroad interests. Edward Arnold gives a solid performance as Jim Knox, a railway plutocrat who is determined to manipulate and exploit a polyglot force of European immigrant workers, led by their rough and ready Irish foreman, played to the hilt by Victor MacLaglen in this post-War Between the States musical melodrama. How to oppose Knox' land grabbing is the plight of a small coterie of settlers led by Tom Logan and his recently Harvard-graduated son Steve, portrayed by Lionel Barrymore and baritone Nelson Eddy. Reliable Jack Conway directs with proletarian emphasis, featuring closeups of seamed and craggy-faced railroad laborers, whose basic needs are apparently implemented whenever the sturdy Eddy bursts into song. Eddy employs the method of a clandestine newspaper to undermine the plans of the villainous capitalist Knox, working hand-in-hand with a sidekick, acted very nicely by the extraordinary ad lib performer, Charles Butterworth, whose nonpareil timing is a delight in his every scene. This is the first appearance of the seasoned Eddy without an equal singing partner, and he proves more than capable of carrying the show, although he is joined briefly during one number by his romantic interest, the talented and beautiful Virginia Bruce. Without question a disputation against capitalist profiteering, LET FREEDOM RING is even more a rousing entertainment, knitted with wonderful music, a top-flight cast, and neatly crafted direction.