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That Midnight Kiss (1949)

6.7
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Ratings: 6.7/10 from 334 users  
Reviews: 15 user | 7 critic

In Philadelphia, the soprano Prudence Budell returns from Europe after a period of five years training in the best Europeans music schools. Her millionaire grandmother Abigail Trent Budell ... See full summary »

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Cast

Cast overview, first billed only:
...
Prudence Budell
José Iturbi ...
José Iturbi (as Jose Iturbi)
...
Abigail Trent Budell
...
Johnny Donnetti
...
Artie Geoffrey Glenson
J. Carrol Naish ...
Papa Donnetti
Jules Munshin ...
Michael Pemberton
...
Guido Russino Betelli
Marjorie Reynolds ...
Mary
Arthur Treacher ...
Hutchins
...
Mamma Donnetti
Amparo Iturbi ...
Amparo Iturbi
Bridget Carr ...
Donna Donnetti
Amparo Ballester ...
Rosina Donnetti
Ann Codee ...
Mme. Bouget
Edit

Storyline

In Philadelphia, the soprano Prudence Budell returns from Europe after a period of five years training in the best Europeans music schools. Her millionaire grandmother Abigail Trent Budell sponsors an opera company under the command of the famous maestro Jose Iturbi to give a chance to Prudence to lead an opera. They hire the also famous tenor Guido Russino Betelli, but Prudence does not feel comfortable with him on the stage. When Prudence accidentally sees the American-Italian truck driver Johnny Donnetti singing opera, she convinces Jose Iturbi to give a chance to Johnny. They fall in love for each other, but when Prudence visits his work to tell that he will be hired, she meets Mary and she believes Johnny is in love of his colleague. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Taglines:

The biggest kiss in movie history!

Genres:

Musical | Romance

Certificate:

See all certifications »
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Details

Country:

Language:

|

Release Date:

23 January 1950 (Sweden)  »

Also Known As:

Aquele Beijo à Meia-Noite  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Sound Mix:

(Western Electric Sound System)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Although this was officially Mario Lanza's film debut, he had previously appeared as an uncredited chorus member in Winged Victory (1944). Like the character he plays in the movie, Lanza was an opera singer from an Italian-American family in Philadelphia. See more »

Quotes

Abigail Trent Budell: Every opera singer should fall in love with her tenor, or composer, or baritone, or conductor. I'm glad it's a tenor. We could use one.
See more »

Connections

References In the Good Old Summertime (1949) See more »

Soundtracks

Celeste Aida
(uncredited)
from "Aida"
Music by Giuseppe Verdi
Libretto by Antonio Ghislanzoni
Performed by Mario Lanza
See more »

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User Reviews

An auspicious debut
31 December 2003 | by (New Zealand) – See all my reviews

Mario Lanza makes a very confident screen debut with this movie. The scene in which he first appears - some 15 minutes into the film - is teasingly executed: we hear his voice (singing the Neapolitan classic, Mamma mia, Che Vo' Sape) as co-star Kathryn Grayson enters her home, and - with her (and our) interest aroused - the camera slowly pans to reveal his handsome presence. It's a great moment, helped by the fact that Lanza really does look terrific, especially in comparison with the portly stock tenor we have been watching only minutes earlier.

Lanza has some formidable acting talent to compete with in this movie. That he succeeds magnificently speaks volumes about the man's much-underrated acting ability. Also appearing in the film are seasoned veterans such as Ethel Barrymore, J. Carroll Naish, Jules Munshin and Thomas Gomez (hilarious as the aforementioned portly tenor). Keenan Wynn is also on hand as Lanza's amusing buddy, and the film also boasts another big musical name: conductor/pianist Jose' Iturbi, who plays himself.

The film is fun, and very competently produced in the grand tradition of MGM musicals. Lanza doesn't have a great deal to sing, but among the highlights are a very lyrical Celeste Aida (minus the recitative), the second half of Una Furtiva Lagrima, and Jerome Kern's They Didn't Believe, which is sung as a duet with Kathryn Grayson. MGM was clearly nervous about allowing Lanza too many "heavy" vocal offerings, but they were soon to rectify this with The Great Caruso, just two years later.

All in all, That Midnight Kiss is a most enjoyable romp with Lanza as its raison d'etre. The critics were not especially kind to the film - or Mario's co-star, the established Miss Grayson - but all were in agreement that Lanza made the picture worth seeing. This is what Newsweek Magazine had to say:

Aside from Jose' Iturbi's music, virtually the only excuse for this one is Mario Lanza, a singer whose talents would be conspicuous even outside a film devoted to opera. He can act as well as sing. But his efforts in both directions are hampered by an inconsequential story which enmeshes him with Kathryn Grayson - a girl who neither sings nor acts in his league.

And from The New York Times:

As for the budding Mr. Lanza, the opinion rendered of him by the sanguine Mr.Iturbi is good enough for us. "His voice," says Mr. Iturbi, "has quality and warmth and he has a very nice personality." Check.

The following year Lanza would go on to greater things in The Toast of New Orleans, before reaching his pinnacle in The Great Caruso.


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