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 »
Gail discovers the shocking news that she is adopted during a heated argument with her sister, Joan. With the reluctant support of her adoptive parents and baby sister, Penny, Gail goes in ... See full summary »
Sea-faring saga of two brothers (Robert Taylor, Stewart Granger) and the woman they both love. Set against South Pacific islands, this love triangle pits the good brother against the bad as... See full summary »
Tomboy Rose Marie Lemaitre, the orphaned ward of Mountie Mike Malone, falls in love with him, and he with her. But when she goes to "learn to be a lady", she meets outlaw trapper James ... See full summary »
Pinky Scariano, Allan Ross, and Frankie Davis all join the Army Air Forces with hopes of becoming pilots. In training, they meet and become pals with Bobby Grills and Irving Miller, and the... See full summary »
Damon Vincenti, a young vineyard worker, has a beautiful tenor voice and dreams of becoming a great opera singer. He debuts at Lardelli's Italian restaurant in San Francisco, where he is ... See full summary »
Country squire Henry Maurier is patient with his wife Emily, a neurotic invalid, but her brother surprises Henry with his young mistress Doris. The same night, Emily dies of her chronic ... 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 is unacceptable to both women's fathers: to one, because he sings; to Dorothy's, because he is a peasant. To New York patricians, Caruso is short, barrel chested, loud, emotional, unrefined. Their appreciation comes slowly. The film depicts Caruso's lament that "the man does not have the voice, the voice has the man": he cannot be places he wants to be, because he must be elsewhere singing, including the day his mother dies. Throughout, Mario Lanza and stars from the Met sing. Written by
Conductor Richard Hageman, who played Carlo Santi in the film, actually knew Enrico Caruso and led several performances with him at the Metropolitan Opera, including the 1918 War Relief Benefit re-created in the film. See more »
This movie can truly be called life-changing. It certainly changed my life; I was totally ignorant of opera before a chance re-run of this movie introduced me to a whole new musical world. As it turned out, I was in illustrious company. There is not a single contemporary tenor of note who was not inspired by this movie.
Let's be honest from the outset: the movie bears little resemblance to the real Caruso's life, and, yes, it is corny in the grand tradition of Hollywood musicals. But who cares? Lanza's singing is perfection itself, and his vibrant personality overflows in practically every scene. The rest of the cast is good, with top-notch operatic singers Blanche Thebom, Giuseppe Valdengo, et al providing Lanza with some worthy (and rare) vocal support.
Highlights include a superb Vesti la Giubba, a moving Ave Maria and a rapturous Because. In all the movie contains 27 vocal items, with not a dull moment to be found amongst them.
See this movie and revel in a unique vocal talent. In the words of one admirer, Mario Lanza could "outsing the entire Mormon Tabernacle Choir", and the movie is a stark reminder of how bland today's singing idols really are. Enrico Caruso, Jr, was one observer who concurred with this view.While the movie overlooked his existence in favor of his half-sister Gloria, Caruso's son had nothing but praise for the man who portrayed his father:
"Mario Lanza was born with one of the dozen or so great tenor voices of the century, with a natural gift for placement, an unmistakable and very pleasing timbre, and a nearly infallible musical instinct conspicuously absent in the overwhelming majority of so-called 'great' singers. His diction was flawless, matched only by the superb Giuseppe di Stefano. His delivery was impassioned, his phrasing manly, and his tempi instinctively right -- qualities that few singers are born with and others can never attain.
"I can think of no other tenor, before or since Mario Lanza, who could have risen with comparable success to the challenge of playing Caruso in a screen biography."
Well said, Enrico Jnr, and viva il grande Lanza!
16 of 19 people found this review helpful.
Was this review helpful to you?