Mary Barrett is an aspiring Opera singer who is taken under the wings of a famous operatic maestro, Guilio Monterverdi. After spending endless working hours together and arguing, their ... See full summary »
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Mary Barrett is an aspiring Opera singer who is taken under the wings of a famous operatic maestro, Guilio Monterverdi. After spending endless working hours together and arguing, their relationship develops into love. But, jealousy and misunderstandings prevent Mary and Guilio from acknowledging their true feelings. Written by
Kelly
This was the first film to win an Academy Award for Best Music Score (for Louis Silvers) as 1934 was the first year that an Oscar for this category was introduced. See more »
Unlike MGM's favorite soprano, JEANETTE MacDONALD, other singers from
the Met tried screen careers at various times in the '30s, but none
emerged winning enough as screen personalities to rival Jeanette.
Columbia tried hard with GRACE MOORE and this is undoubtedly one of her
better efforts at attaining screen stardom.
TULLIO CARMINATI is amusingly persistent as her demanding voice coach
who discovers her singing "Ciribiribin" in a cellar cafe before
offering to become her tutor. LYLE TALBOT is her boyfriend with
marriage on his mind.
But the silly script has Miss Moore acting like a spoiled prima donna,
cavorting with boyfriend Talbot while supposedly training for her big
moment as "Carmen". A series of misunderstandings involving another
woman, MONA BARRIE (strongly resembling Kay Francis), makes up much of
the backstage part of the story and only weakens the overall film.
Moore is fine whenever she's singing but the lip synch is way off
during the final "Un Bel Di" and it's hard to see where
her performance earned her an Oscar nomination for the acting part of
her role.
Summing up: A disappointment for me, regardless of glowing tributes
from the other commentators on this particular film.
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Unlike MGM's favorite soprano, JEANETTE MacDONALD, other singers from the Met tried screen careers at various times in the '30s, but none emerged winning enough as screen personalities to rival Jeanette. Columbia tried hard with GRACE MOORE and this is undoubtedly one of her better efforts at attaining screen stardom. TULLIO CARMINATI is amusingly persistent as her demanding voice coach who discovers her singing "Ciribiribin" in a cellar cafe before offering to become her tutor. LYLE TALBOT is her boyfriend with marriage on his mind. But the silly script has Miss Moore acting like a spoiled prima donna, cavorting with boyfriend Talbot while supposedly training for her big moment as "Carmen". A series of misunderstandings involving another woman, MONA BARRIE (strongly resembling Kay Francis), makes up much of the backstage part of the story and only weakens the overall film. Moore is fine whenever she's singing but the lip synch is way off during the final "Un Bel Di" and it's hard to see where her performance earned her an Oscar nomination for the acting part of her role. Summing up: A disappointment for me, regardless of glowing tributes from the other commentators on this particular film.