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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,
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The music, Lanza and production values aside, there's not an awful lot to sing about here
Because You're Mine is a little disappointing after The Great Caruso, Mario Lanza's best film and one that was even better on re-watch(even if it wasn't perfect either), but it still has many fine merits.
The music and Lanza's singing are particularly good here. The operatic excerpts from Il Trovatore, Rigoletto, L'Africaine and Cavalleria Rusticana are masterpieces in themselves, and there's also a great rendition of Granada, the charming duet Because You're Mine and the welcome reappearance of Be My Love. Lanza is in sensational voice, his vocal production sounding easy and with a bright ring and he sings with sensitive phrasing and a good range of musicality, even if the emotion doesn't translate in his acting skills his singing has it aplenty. Because You're Mine looks absolutely glorious, being shot in lavish Technicolour while the sets are colourful and the costumes filled with charm. In supporting roles, a very funny and charming James Whitmore and sparkling Spring Byington stand out.
Doretta Morrow, apart from singing beautifully, is a less-than-winning partner for Lanza. She looks miserable and displays no chemistry with Lanza, the two hated each other and it shows in a chemistry that is even colder than that between Lanza and Kathryn Grayson in The Toast from New Orleans. While Lanza's singing is superb, his acting is some of his stiffest and least natural-looking for any of his films, his comic timing is very flat and somewhat heavy, and when he does try to be funny it comes over as forced. To be honest, the way some of the comedy is written here doesn't help matters either; it sparkles with Whitmore and Byington but is very obvious and banal with Lanza and everybody else. The story is wafer-thin and painfully predictable, even for a film starring Lanza, lacks crispness pace-wise and also lays it rather thick with the schmaltz. And while Bobby Van's dance routine was very winningly danced and niftily choreographed, it served no point to the story and had little reason, if any at all, for being there.
In summary, worth seeing for the music and Lanza, but a let-down after The Great Caruso and one of his weaker films overall. 5.5/10 Bethany Cox
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