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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(screen play), (screen play) | 3 more credits »
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Won 2 Oscars. Another 1 win & 4 nominations. See more awards »

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Cast

Complete credited cast:
...
Tullio Carminati ...
Guilio Monteverdi
...
Bill Houston
Mona Barrie ...
Rosa Lally
Jessie Ralph ...
Angelina
Luis Alberni ...
Giovanni
...
Muriel
Andrés de Segurola ...
Galuppi (as Andres De Segurola)
Rosemary Glosz ...
Frappazini
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Storyline

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

Plot Summary | Add Synopsis

Plot Keywords:

singing | love | singer | opera | winner | See All (192) »

Genres:

Music | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

|

Release Date:

15 September 1934 (USA)  »

Also Known As:

Das leuchtende Ziel  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

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 »

Connections

Featured in The Lady with the Torch (1999) See more »

Soundtracks

Sempre libera
(1853) (uncredited)
from "La Traviata"
Music by Giuseppe Verdi
Libretto by Francesco Maria Piave
Sung by Grace Moore
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User Reviews

 
An uneven film worth one viewing
24 April 2012 | by (United States) – See all my reviews

This is an uneven film, and there's lots wrong with it, some of which has been mentioned by other reviewers.

Rather than rehash all that, what I wanted to mention was the naturalness that Moore sometimes brings to her musical performances, a naturalness that makes them very engaging. The most notable case is probably Ciri-ciri-bin, where you can actually imagine the restaurant crowd joining in, so unpretentious is the whole thing. Some of the opera excerpts have that same quality, at least at times.

Some of that comes from Moore's stage personality, which at times does come off as the girl next door. Some of it, however, comes from the fact that her voice, at that point, was rock-solid and capable of remarkable things. In many ways, she was like a female Mario Lanza: she had the raw gift, she just didn't always put in the necessary work to bring it under control. Nevertheless, she goes sailing through some of her numbers with clear joy because she knows the notes will be there.

As I said, there are lots of problems with the movie. At times, her character seems like an interesting feminist willing to sacrifice to have a career. At other times, that all goes out the window.

The music is good here, and some of the performances at least partially captivating. Not a great movie, but one worth watching, at least once.


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