The Robinson family are spending two weeks of summer vacation at a resort in the Catskills. Older daughter Patti vies with her friend, Valeria, for the affections of Demi Armendez but Patti... See full summary »
Patricia O'Grady is the daughter of Irish Vaudeville performer, Rosie O'Grady, and is being raised along with her sisters by her father who believes the Vaudeville life contributed to his ... See full summary »
Grainbelt University has one attraction for Dobie Gillis - women, especially Pansy Hammer. Pansy's father, even though and maybe because she says she's in dreamville, does not share her ... See full summary »
The star of an upcoming Broadway production, Janet Hallson, walks out during rehersals. The producers of the show, Ted Sturgis, Leo Belney and Bob Dowdy begin to search a replacement. After... See full summary »
On a stormy night, young woman asks another guest at party to rescue her from her lecherous boss and take her to the train station. When her rescuer suggests that she stop at his place to ... See full summary »
Father Conroy (Crosby) has a parish which serves the acting and performance community. When one of his parishoners gets too sick to work, his daughter Holly (Reynolds) finds a job working ... See full summary »
Nine months after they split up Bob and Mary meet at his New York apartment to sort out some tax matters. He's getting married to healthy-eating Tiffany as soon as the divorce becomes final... See full summary »
Tom and Ellen Bowen are a brother and sister dance act whose show closes in New York. Their agent books them in London for the same period as the Royal Wedding. They travel by ship where ... See full summary »
This is one of a handful of Metro-Goldwyn-Mayer productions of the 1950-1951 period whose original copyrights were never renewed and are now apparently in Public Domain; for this reason this title is now offered, often in very inferior copies, at bargain prices, by numerous VHS and DVD distributors who do not normally handle copyrighted or Metro-Goldwyn-Mayer material. See more »
Considering how badly it bombed on release, making a huge loss and with indifferent to negative reviews, was honestly expecting a worse film than 'Mr Imperium' turned out to me. It is a long way from great, struggling to muster average, but from what was heard you'd think it was one of the worst films there was (which it isn't).
There are positives here. 'Mr Imperium' does look very pleasing, it's beautifully photographed with sumptuous costumes for Lana Turner and with serenely idyllic locations. The music is elegant and with enough energy and charm and the few songs, while most not exactly timeless, are pleasant, "You Belong to My Heart" faring particularly well.
Ezio Pinza was my main reason for seeing 'Mr Imperium', being a fan of his beautiful, noble bass voice (one of the most naturally beautiful of any operatic bass along with Nicolai Ghiaurov), and he sings sublimely, despite being retired from opera and shifting to Broadway his voice is one that you can listen to for hours and never tire of. The best performance of 'Mr Imperium' however comes from Debbie Reynolds, in sprightly and charmingly perky charm as always.
However, while Pinza sounds sublime and really tries hard with the acting (he actually was a good actor on the operatic stage) but he doesn't always look comfortable and it was like he was trying too hard. This may have been because a luminous but painfully miscast Lana Turner was so bland, like she was completely bored and didn't want to be there. Their chemistry is non-existent and a gross mismatch, sometimes bordering on unintentional creepiness, not because of the age difference but because Pinza is really trying to be animated and engage with Turner but she makes it very clear that she disliked Pinza and wanted to be elsewhere.
Reynolds aside, the rest of the supporting cast struggle. Not because they are bad, can never accuse Cedric Hardwicke and Marjorie Main of being bad actors or anything, but because they have so little to do and are so underused. Barry Sullivan is so badly wasted here that his presence felt pointless. The direction is very routine, and the pace often plods.
On top of that the script is at best insipid with not a memorable, funny or emotional line in the entire film. The story was so over-familiar and cardboard even in 1951 and fails to inject much spark apart from Reynolds and Pinza's singing. Lastly the ending is confused and, due to the unanswered questions feel it has, incomplete feeling.
In summary, not disastrous as expected but barely average. 4/10 Bethany Cox
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