1. In both clips, the Bruce and Marie characters clearly reveal a growing infatuation with each other, with Marie often feigning a dismissive attitude. On the lake, this love is communicated with song and dialogue; at the saloon, it’s shown wordlessly, just by a shared look. Sergeant Bruce is more forthcoming in his expression (although we find his early overtures are often a creative musical pickup line), as Marie holds her feelings closer. Finally, she seems to accept a sympathetic look from Bruce, after her failure at the saloon before slipping away.
2. I have to admit I’ve never been much of a fan of MacDonald/Eddy films. My experience was limited to the “When I’m Calling You” clips and parodies, and I dismissed their high art style as just muscle vocals. Had I seen these clips, I might have had a better opinion. I liked the lighthearted back-and-forth of the canoe scene, and especially enjoyed MacDonald poking fun at her own upper crust inability to master the more down-to-earth ****-tonk sensibilities.
3. Sergeant Bruce is portrayed as a ladies’ man (along with his fellow Mounties), whether partying in the saloon — or as we learn from his bespoke lovesong ruse, one who routinely tries to woo women by formula. Maria is classically demure, but shows how she quickly sees through Bruce’s schemes. In the saloon, she gamely mimics the dance hall girl’s sexy performance, desperately trying to make her talents more marketable. There’s an interesting dynamic between the two in that Marie respects the saloon singer’s ability to engage her audience, but can’t quite bring herself to mirror the man-pleasing gyrations. Being a good girl has its limits, even when you’re trying to hold a job.
