Snooty opera singer meets a rough-and-tumble fisherman in the Louisiana bayous, but this fisherman can sing! Her agent lures him away to New Orleans to teach him to sing opera, but comes to...
See full summary »
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 »
Loosely traces the life of tenor Enrico Caruso (1873-1921). He loves Musetta, in his home town of Naples, and then Dorothy, the daughter of one of the Metropolitan Opera's patrons. Caruso ... See full summary »
The brilliance of one of the world's most beloved tenors and the exciting world of opera highlight this delightful romantic adventure set in the most beautiful cities of Europe. Tonio Costa... See full summary »
Johanna von Koczian,
Acrobat Eddie Marsh is in the army now. His first act is to become friendly with Kathryn Jones, the colonel's pretty daughter. Their romance hits a few snags, including disapproval from her... See full summary »
On a train to Rome, the American singer Marc Revere meets the Italian Raffaela. He notices that she intends to work and live at her uncle's. When he gives her a ride, it turns out that said... See full summary »
Ex-King Alfred VII is a young, handsome, and charming erstwhile monarch who once ruled a nation of two million people. Now all he has left are his Count Humbert and Duchess Anna, along with... See full summary »
Edward Everett Horton
Snooty opera singer meets a rough-and-tumble fisherman in the Louisiana bayous, but this fisherman can sing! Her agent lures him away to New Orleans to teach him to sing opera, but comes to regret this rash decision when the singers fall in love. Written by
Although they had previously appeared together in That Midnight Kiss (1949), Kathryn Grayson and Mario Lanza did not get along while making this film. While shooting the love duet scene from "Madame Butterfly," Grayson recalled that Lanza kept trying to French kiss her, which was made even more unpleasant by the fact that he kept eating garlic before shooting. To counter this, Grayson had costume designer Helen Rose sew pieces of brass inside her glove. Each time Lanza attempted to French kiss her, Grayson would smack him in the face with her brass-loaded glove. One of these smacks was included in the movie. See more »
Three-quarters of the way through the "Tina-Lina," Pierre's trousers develop a tear at the seam near the hip, which magically repairs itself in the next shot. See more »
Since society began there's been a way of doing things right and a way of doing them wrong.
See more »
Using the formula that worked so well in "That Midnight Kiss," Mario Lanza, this time one Pepe Duvalle, is again discovered by someone with connections to the opera world while he's singing his heart out doing his normal job. Here he's a bayou fisherman, but after the loss of their boat, Pepe and his Uncle Nicky (J. Carrol Naish) head to New Orleans to look up the opera director (David Niven) who offered Pepe an opportunity after hearing him in the village when Pepe joins his prima donna (Grayson) in song. Pepe finds himself in love with the somewhat cold diva, who is being pursued by Niven.
Lanza is in fine form as a crude, loud, uneducated man who, in order to fit into New Orleans society and the opera world, has to learn manners, as well as how to dance and dress. A natural actor, he makes his complete transformation believable. He sings Jose's aria from "Carmen" beautifully, and this film introduces his hit, "Be My Love" to audiences, which he sings with Grayson. With the diminutive soprano, he also does "Libiamo" from "La Traviata." In the days in which this story is set, a singer like Grayson would have sung "Traviata," though audiences aren't used to hearing a fluttery coloratura sing it any longer. The two perform the love duet from "Madama Butterfly" as well - an absolutely horrid choice for Grayson, calling for a much weightier voice. Obviously the repertoire was chosen with Lanza in mind. Had MGM not used "Lucia" in "That Midnight Kiss," they could have perhaps used it here. Grayson gets to use her high extension in "Je suis Titania," but the rest of the aria suffers from pitch difficulties.
Lanza really helped to commercialize opera in the United States, but he did it without the help of MGM. Is it necessary for Niven to give the wrong explanation for the duet "La ci darem la mano?" And why, during the Butterfly duet, which is total foreplay, does Grayson constantly try to get away from Lanza? No matter her personal feelings, she was on stage playing a role.
Grayson looks lovely in an assortment of magnificent gowns and hats, and if her voice doesn't match Lanza's, it doesn't mean she could not have sung opera, which is often the criticism. There is definitely a place for coloratura sopranos in the opera world - just not singing with spinto tenors.
J. Carrol Naish plays an embarrassing, annoying stereotype as Uncle Nicky; Niven is wonderful, if underused, and his perfect voice and smooth manners are in great juxtaposition to Lanza's bumbling Pepe. James Mitchell, known to soap opera audiences now as Palmer Courtland on "All My Children" has a good featured part as a friend of Pepe's from the bayou, and he and a very young Rita Moreno, who's in love with Pepe, do a spirited dance number.
Lanza's reign at MGM was disappointingly short, and yo-yo dieting and drinking would claim his life nine years after this film. But what years, in which he gifted the world with his fresh, passionate, Italianate sound and thrilled millions of people all over the world.
11 of 12 people found this review helpful.
Was this review helpful to you?